Cinematic by DiGrazia

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A Star is Born (2018)

The problem with copy-paste remakes

A veteran musician in the dawn of his career falls for a regular girl with incredible talent, leading her to stardom and their romance to disaster

In a decade that has marked the film industry for being the less original and the most reiterative  - full of remakes, reboots and adaptations -, it didn’t come as a surprise that the 30s classic, later a 50s classic and even later a 70s classic A Star is Born was going to be remade. Once more.

When most films coming to cinemas are in some way an adaptation from something previous, a remake is hardly news. The third remake of the same story? A bit more. We’ve seen it done with book adaptations (how many Robin Hoods, Pride and Prejudices or Wuthering Heights have been made?) and with classic fairy tales, but it’s much less often that an original film gets remade into oblivion. It’s difficult to believe the fourth version of a film can bring something new to the table, but based on the raving reviews, you’d think Bradley Cooper’s version has done it. Not so fast.

As all the adaptations, Cooper’s film keeps the concept, storyline and ending of the original. As Frank Pierson’s 1976 adaptation, it changes the characters’ career path from acting to music. Other than the update to contemporary times, the film doesn’t do much to shed new light on the classic story. And, while that isn’t a problem, it just makes for a film that has little to say.

Imagine this. A regular girl with incredible talent that has given up on her dreams. An established star that is struggling with life and seeing how, slowly, he becomes irrelevant. They meet. She is a breath of fresh air for him. He is the only one able to recognise her talent and show it to the world. And while they indulge in passionate romance, she rises to fame and ultimately overshadows him. It’s a good story. But it isn’t an original one. And after a few remakes, it’s difficult to imagine why a director would choose it for their directorial debut if they have nothing new to say.

I struggle to find why so many people are fascinated by this film. But the different iterations of the story have been very popular over the years, so maybe it’s just that it’s an emotional story that people easily connect to. This is not to say the film is bad in any way. This is a perfectly well-made film. A perfectly well-made film that has absolutely nothing to say. Cooper’s first director gig shows some good potential, bringing a nice performance from Lady Gaga and showing incredible chemistry between the main characters. There’s some powerful moments, which are well enough shot. There’s also a few moments where Gaga’s and Cooper’s characters are just a couple, having little talks that lead nowhere but feel natural, unscripted. That is difficult to achieve. And there’s one beautiful song, Shallow, which will definitely be a contender in the upcoming awards race.

Maybe people are impressed that Cooper can act AND direct (although I wouldn’t say he’s one of the leading actors in his generations, save a few selected performances). Maybe people are impressed Gaga can sing AND act (she can, and pretty well, although the talk about a Best Actress nod feels greatly exaggerated, but that’s what happens when someone shows a person can have more than one talent). But other than people showing an unexpected (or previously unknown) skill, this film isn’t outstanding in any way.

At the end of the day, this film could have been so much more. It connects in no way to its time, to its context. It’s just a beautiful film about a struggling couple. But seeing two white straight people struggling with their relationship and their lives for two hours and fifteen minutes is far from what I expect from such a critically acclaimed film. This film has no self-awareness. It’s very white, very straight, and very average. It has the mandatory black supporting characters, but they’re kept strictly secondary as it’s Hollywood rule (or it was, back in the 90s and early 00s). But there’s nothing special about it. Because, even if it’s well done, it has been well done three other times. And, when you copy or take inspiration from something, the least you can do is try to improve it in some way, to bring something else out of it. Instead, this is just another example of how Hollywood’s mediocrity is praised for doing the bare minimum.

If Hollywood wants to keep adapting its own classics, it should go for a new take. Remaking shouldn’t be about just making the setting contemporary, or changing the career of your main character. It should be about finding a new angle for the story, a new perspective. A way to make an old story fresh. And while we’re at it, why not remake a much more intriguing, original story like All About Eve? Or we could just leave the classics alone, and start looking for new ideas.

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The Strangers: Prey at Night

Pray you’ll make it through

A group of pretty useless killers with a questionable taste in music and shitty masks attack an even more useless family of four in an abandoned trailer park.

If you fed all the horror film tropes you could think of to an AI and then asked it to write a horror movie, The Strangers: Prey at Night is the kind of generic, nonsensical script you would probably get. It could pass as a comedy, from the laughs you could hear in my screening tonight, but that’d be giving it too much credit.

The Strangers: Prey at Night is a loose sequel to 2008 The Strangers, copying many of the moments and adding nothing to the concept. Yet another slasher. It brings nothing new to the table, and it’s so unoriginal it doesn’t even manage to pull a jump scare. It’s quite depressing that twenty years after Scream, slasher films keep going for the same overused, laughable tropes that only make them seem lazy and their characters, stupid. They separate, run into rooms with no exit, scream when they’re trying to run away from the murderers (they will find you, dumbass)… and the most pathetic one: ask why.  At the end of the day, you feel like the characters deserve to die because of their stupidity.

If there’s one thing I can’t forgive in a film, it’s lazy writing. And no one made an effort to make this film decent. Not good, just decent. The first twenty minutes are just boring. Nothing happens, just a group of people making time until the film actually starts. Not that it gets any better after that. What follows is an hour of chasing and killing that unintentionally makes you giggle once in a while. Only one of the death sequences is actually good, but it is undermined by how it ends.

Sadly, there isn’t one redeeming element in the whole film. The cinematography is poor, and most of it is terribly lit. If you decide to make your film contemporary, it’s not believable that not one of your characters has their phone on them and, so, a way to illuminate their way through a dark trailer. They should know by now, dark doesn’t equal scary. There’s a few zoom-ins during “tense” moments that just make you laugh. And while I get what they were trying to do with the music, it just felt out of place.

Christina Hendricks (Drive, Mad Men) was clearly doing this for the paycheck. At least, her appearance proves the cast is not to blame for the terrible acting, but rather the director. Believe it or not, this isn’t Johannes Roberts first film, he’s actually been allowed to direct quite a few features now. Two years ago, I reviewed The Other Side of the Door, an equally unoriginal horror that didn’t quite reach the same level of awfulness, but still managed to hit all the tropes it could. It seems it all has gone downhill from there for Roberts.

With so many decent horror films released in the last few years, The Strangers: Prey at Night will soon fall into oblivion only to be seen by poor souls who stumble upon it on some streaming service. But for those seeking unwanted advice, skip this one and wait for the far superior looking Hereditary.

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Welcome to the Oscars 2017: who will win, who should win. My analysis and guide into the most important night of Hollywood.

We are back for another year of surprises, snubs and, at times, predictable awards. Tonight will be full of fancy dresses, brand new memes and political undertones in every speech of the night. But, in between a beautiful dress and an A-lister falling gracefully in the red carpet, a film will be crowned as the best of 2016 or, at least, Hollywood’s favourite.

I usually make several posts analysing the most important categories with a couple weeks to go before the big awards. But as this year I’ve been busy with some creative work of my own, I am going to try to summarise my usual rant in a single post. So prepare for a long, and hopefully interesting, look into tonight’s show. And if you need tips to fill your ballot, you can always count on me!

 Actor in a Supporting Role

After the surprising turn it took last year when Mark Rylance (Bridge of Spies) took the coveted award over clear favourite Sylvester Stallone (Creed), it seems this year this may be one of the most predictable categories in this year’s Oscars.

This year, we have three first timers in this category, one of them as young as 20. Alongside them are veterans Michael Shannon (Nocturnal Animals, one previous nomination) and Jeff Bridges (Hell or High Water, 1 Oscar, 5 previous nominations). The awards season has been pretty divided (the Golden Globe went to an actor who wasn’t even nominated to the Oscars: Aaron Taylor-Johnson, Nocturnal Animals), but there seems to be a clear winner.

Who will win: Marhershala Ali (Moonlight) is the obvious frontrunner. He has won the Critics’ Choice Award and the Actors Guild. And although Dev Patel (Lion) snitched the BAFTA just two weeks ago, it seems Ali is a locked deal for every ballot around the net.

Who should win: Marheshala Ali isn’t only the favourite but, in my opinion, the best out of a bunch of really talented actors. His performance in Moonlight, although brief, was intense, powerful and moving. His character also drove the main character’s growth into the different stages of life.

Among the other nominees, it is worth to mention Lucas Hedges (Manchester by the Sea). Although only 20 years old, newcomer Hedges’ performance was incredible and touching, a great portrait of growing up and dealing with grief.

 Actress in a Supporting Role

A year after the Academy was called out for not nominating any people of colour in the acting categories for two years in a row, it seems it has finally reacted to the heavy criticism. And this is the category with the most diversity this year.

Everyone except Naomie Harris (Moonlight) has already been nominated at least once before. This includes two actresses who have already been winners: Nicole Kidman (nominated this year for Lion) and Octavia Spencer (Hidden Figures). Viola Davis (Fences) is a third time nominee and Michelle Williams (Manchester by the Sea), a four timer. 

Who will win: Viola Davis has this award in the bag. She has won big during the whole season: Golden Globe, BAFTA, Actors’ Guild, Critics’ Choice. It’d be a real upset if anyone else won. No one is even considering another possibility.

Who should win: Viola Davis has been playing incredible roles for years, both on TV and on film. After not winning for The Help in 2012 (film for which her category buddy Octavia Spencer did win), it is only right she wins for her amazing performance in Fences. Her portrayal is emotional and raw, difficult to find in cinema nowadays.

My personal favourite, though, had to be the incredible Naomie Harris in Moonlight. Her performance was, as Viola’s, raw and deep. However, Michelle Williams’ intensity was probably, and regrettably, the thing I liked the least about an otherwise beautiful film.

 Actor in a Leading Role

This may be the closest race of the night. Once a clear win for Casey Affleck (Manchester by the Sea), Denzel Washington (Fences) has sneaked into the predictions in the last few weeks and seems to be ready to win.

Although the race is clearly a 50/50 in between those two actors, months ago it seemed like nominee Ryan Gosling (La La Land) also had a chance. Unfortunately, his Golden Globe winning in January deflated and it seems it will be the film that takes the awards, not him. First time nominee Andrew Garfield (Hacksaw Ridge) is a long shot, but it is easy to see this has been his best year yet (also starring in Scorsese’s Silence) and we will probably see him back in the Oscars in many years to come. Finally, Viggo Mortensen (Captain Fantastic) comes to his second nomination in a little known but highly praised role that both critics and audience have acclaimed since the film premiered in Sundance last year.

Who will win: It is such a 50/50 that I have been struggling for weeks and still struggle to call a final choice. Although the maths clearly point to Casey Affleck (a 49.5% according to Ben Zauzmer’s Maths Predictions on The Hollywood Reporter), Denzel Washington is said to be the favourite by most experts (at least since he won the Actors’ Guild a few weeks ago). Affleck did win the Golden Globe, the BAFTA and the Critics’ Choice (an almost complete sweep), but scandal has been following him the whole race for a sexual harassment suit filed against him in 2010.

I wouldn’t say for sure, but the development in the last few weeks seem to give Denzel Washington a small lead. But don’t be surprised if Casey Affleck manages to win tonight.

Who should win: When all is said and done and if we leave out anything that isn’t just performances, I would have to say Casey Affleck should win. His performance was really good and he he carried the enormous emotional weight of this film almost sorely on his shoulders. Although Denzel Washington was great, Fences was a bit too theatrical to me, seeming to forget cinema doesn’t have the same rules, even for its actors.

 Actress in a Leading Role

This is a category that has had me thinking a lot this season. Not because the winner is a tough call (it hasn’t been for the past few weeks), but because of how it is decided who is leading and who is supporting. Because, honestly, wouldn’t you say Viola Davis was a main character in Fences? I’m also conflicted by the wonderful Amy Adams not being nominated for any of her performances this year (Arrival, Nocturnal Animals).

But going back to the race, it is a pretty easy call. Natalie Portman (Jackie) may have had a possibility back in January, but the road to the Oscar has been pretty clear for Emma Stone (La La Land) ever since.E

In this category, we also see legend Meryl Streep (Florence Foster Jenkins) achieving her 20th acting nomination. French actress Isabelle Huppert (Elle) gets a consolation nomination after the film was forgotten in the Foreign Film category. Finally, Ruth Negga (Loving) gets her first nomination in a year in which she starred in both an incredible film (Loving, 89% on RottenTomatoes) and in a poorly received blockbuster (Warcraft, 28%).

Who will win: Emma Stone seems to have no competitors this year. After being nominated two years ago for Birdman or (The Unexpected Virtue of Ignorance), she has won almost everything this year. The only exception is the Critics’ Choice, which went to Natalie Portman. But Stone has her award pretty secured, a 67.8% according to maths.

Who should win: Hard call. There were many amazing performances this year, all of them earning high praise. Personally, I loved Portman’s Jackie, but I have to say Emma Stone was my favourite. Although it isn’t a difficult role, she shined in La La Land. Particularly, her performance during the audition scene was one for the books. I already rooted for her two years ago (when, for me, she unfairly lost against an only decent Patricia Arquette), so she is my pick this year.

 Best Picture

Nine films will fight tonight for the biggest award of the night. All of them have been praised by the critics and, honestly, I think we have had one of the strongest years in the past few years. Also, it has been one of the most low-key. Many of the films weren’t very popular before awards season, and only raised to be well known once award season chatter started.

From sci-fi Arrival to the masterpiece that is Moonlight, these are all stories about humanity, finding oneself and, well, surviving in life when everything seems against you.

Who will win: It would be a surprise if La La Land didn’t win the night. It has tied Titanic and All About Eve at 14 nominations. It has won awards all over the globe. It has been highly praised by both critics and audience. It has even suffered the Frozen effect, meaning it had so much praise and hype around it, that people (even those who haven’t even seen it) are so tired of hearing about it, they seem to hate the film now. And although films like Moonlight may have a slight chance, it’d be a real showstopper if La La Land didn’t win.

Who should win: Although I really liked La La Land (artistically it was a masterpiece, script-wise it was good enough. As an homage to musicals it was wonderful), in a year so full of talent, it wasn’t my favourite. I think Moonlight and Manchester by the Sea were the greatest achievements this year. They are both masterpieces: amazing screenplays, outstanding performances, great cinematography and editing, perfect pacing… a long list of praise for both of them. They are very emotional and human pieces that really touch their audience in a way that films often aren’t able to reach.

Others nominees not mentioned before include Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures and Lion. Although I didn’t quite love Fences (too dialogue heavy for my taste), they are all incredible films worthy of being in this category. Also, praise to the Academy for nomination a sci-fi (Arrival) that surprises being so human when it is dealing with aliens.

 Animated Feature Film

For the past few years, the Academy has decided to mix more popular all-American-industry films (Zootopia and Moana this year) with less known, usually foreign, underdogs (The Red Turtle, My Life as a Zucchini). This year is no exception, although it is remarkable to point out Disney earned two nominations, whereas Pixar (a usual contender, only three of its films before this hasn’t been nominated), even though it did release a film in 2016, got zero.

The five nominees are rounded up by the highly praised Kubo and the Two Strings, which took home the BAFTA only weeks ago. Kubo has been a surprise in the race, from being a not very well known film to being the second favourite tonight.

Who will win: From early on, Disney’s Zootopia has been the frontrunner. In the last few weeks, though, Kubo and the Two Strings has been coming closer and closer. Ben Zauzmer’s maths call a close 50.9% - 41.8% race in favour of Zootopia. And it is true no BAFTA animated winner nominated to the Oscars has ever lost the Oscar. But Zootopia long string of wins (including the Annie), plus the message of the film, will probably make it the winner. Be open to a surprise, anyway.

Who should win: Although all of the nominees are incredibly creative and Disney’s Moana has wonderful animation and sountrack (script a bit lacking), my vote would go for Zootopia. It is a beautiful and creative story that reflects today’s society while also telling the tale of an extraordinary friendship between unusual companions.

 Writing: Adapted Screenplay + Original Screenplay

The writing categories haven’t been without controversy this year. The Academy has a different point of view of what qualifies as original and what qualifies as an adaptation. Surprisingly, Moonlight has been considered an adaptation when it was determined it was an original script in the Writers Guild Awards. It is true is was based on a play, but as they play was never producer, it is tricky to determine who is right. The Academy is very strict in this sense, though, Whiplash was considered an adaptation of Damien Chazelle’s own short film (which he made to get the opportunity to do the feature). Any sequel is considered an adaptation because it uses characters of a previous film.

Anyway, back to the race.

Who will win in Adapted Screenplay: It would have had tougher competition in Original, so Moonlight could actually be lucky to be in this category. It also won for original screenplay in the Writers Guild. Other nominees (Lion, Arrival) have gotten some awards, but highly praised Moonlight seems the frontrunner.

Who should win in Adapted Screenplay: Moonlight is one of a kind. The storytelling is sweet and moving, poignant and simply incredible. It is a simple tale told beautifully. Every person I talk to has been blown away by it. I have to say I also find Arrival was a great adaptation, and Hidden Figures has been incredibly praised. My only pet peeve here is Fences, as I wouldn’t count it as an adaptation because, according to all sources, director Denzel Washington didn’t want to change a single word of the play, so they didn’t. Is that adapting? Is just taking a script and performing it in another media worthy of this nomination?

Who will win in Original Screenplay: Tougher race, one may say one of the toughest alongside Actor in a Leading Role. Because of the previously mentioned confusion with which film goes in which category, looking at other awards isn’t really useful. Moonlight won the Writers Guild, La La Land got the Golden Globe, Manchester by the Sea, the BAFTA. It should be a close call between Manchester and La La Land, but I feel like this is usually an award that is given to great films which wouldn’t get any recognition otherwise, so my bet is on Manchester by the Sea.

Who should win in Original Screenplay: Although I really enjoyed La La Land, I don’t think its screenplay is its best quality. It is good, but it isn’t outstanding. The Lobster was a very original film that really surprised me, so it is a close second, but my favourite was Manchester by the Sea, because it felt true and raw in the best of senses. I also went in with the feeling it’d just depress me, and it was actually the perfect measure of melancholic and sweet.

 Directing

This is a category usually tied to Best Picture, and this year seems no exception.

Who will win: Damien Chazelle is clearly the favourite with La La Land. He won the Directors Guild, the BAFTA, the Golden Globe, the Critics’ Choice… So he is here on a landslide. Also, he is Hollywood’s golden boy, so it would be difficult for him not to win.

Who should win: I think many of these films are a big achievement, but I consider directing a musical is always a challenge, so my choice would be Damien Chazelle. I also have to confess I have a soft spot for him after Whiplash, which I honestly preferred to La La Land and thought was underrated.

 Cinematography

For me, one of the most interesting categories of the night. Usually overlooked, cinematography is what gives a film its tone, its personality. This year, there are some great contenders. 

Who will win: La La Land seems to be going to sweep all the technical awards it can. In true Mad Max: Fury Road fashion, La La Land is a frontrunner because honestly, like it or not, it is technically great. As Ben Zauzmer points out, in the past seven years only Birdman has won without a production design nomination. That would only leave La La Land and Arrival on the run. And there has been a lot of buzz around the prettiness of La La Land and, of course, that wonderful last sequence.

Who should win: I was honestly surprised by how beautiful Moonlight was. Although the shots were kind of too harsh at the beginning for me, the beach scene completely made me fall head over heels. Although I think La La Land is a true beauty, Moonlight is my favourite.

 Production Design

It also blows my mind how they create such wonderful worlds in film. Production Design is an underrated art that is able to create from spaceships (Passengers) to magical worlds (Fantastic Beasts and Where to Find Them) and make us believe for two hours they are actually possible.

Who will win: As I said, it seems like La La Land is going to win everything technical. It won on the Art Directors Guild (although Passengers did too, in the Fantasy genre) and it has been praised, particularly on that already mentioned last sequence. Fantastic Beasts did win the BAFTA, but I tend to think that might have been British voting for the British (although its production design was truly wonderful). All things considered, there could be a surprise in this category.

Who should win: It is a tough choice. All of these films have created such wonderful worlds. I particularly loved Passengers design of the spaceship and Fantastic Beasts take on the American magical world. Hail, Caesar! had a great look, but didn’t quite impress me. And Arrival was great, too, but once again it didn’t stay with me in the same way. But if I had to think of a film in which the production design really took my breath away, I’d have to go with La La Land because, above it, that film is pretty.

 Costume Design

Another close call, and there aren’t even only two frontrunners.

Who will win: Difficult to say. La La Land did get a Costume Designers Guild Award in its Contemporary category (unlike Jackie which lost to Hidden Figures, not even nominated in the Oscars; and Fantastic Beasts, that lost to Doctor Strange, also not nominated). But it is certainly difficult for a contemporary film to win this award. If we look into the BAFTAs, we see Jackie won. It also won the Critics’ Choice. So, relying on numbers and Oscars tendencies, I’d say Jackie is my (uncertain) bet.

Who should win: Jackie may have wonderful clothes (it is Jackie O after all), and La La Land is pretty but not extraordinary. Fantastic Beasts and Where to Find Them was for me the most outstanding in this category.

 Makeup and Hairstyling

I am always surprised there are only three nominees in this category. Also, they have nothing to do with the rest of categories, so it is hard to predict in relation to the others.

Who will win: There is not much to consider, not that many awards consider Make Up and Hairstyling. I’d opt out A Man Called Ove, because The 100-Year-Old Man Who Climbed Out of the Window and Disappeared didn’t do that good last year and I consider they were nominated for similar reasons. Between Star Trek Beyond and Suicide Squad, they have both won some awards for their makeup. I’d say it also depends on the effort the voters see in the creations, so this would be a matter of Killer Croc (Suicide Squad) against Star Trek’s aliens. As I think Star Trek Beyond was an all-around better film and it did better with critics and audience, that is my bet.

Who should win: I honestly have no preference.

 Film Editing

Who will win: Musicals always seem to be favourites in this category. Also, La La Land did win both an Eddie (Arrival also got one) and the Critics’ Choice. The race is also joined by BAFTA winner Hacksaw Ridge. As I think voters usually start voting on technical awards in group (they give them all to someone, look at Mad Max last year), I think La La Land will be it.

Who should win: I don’t really have a clear favourite here, but I did think Moonlight did a great job in pace, rhythm and structure. Its editing was really good, so that is my pick.

 Sound Editing & Sound Mixing

Two categories not even the voters know how to differentiate, so it is tough to know what would win which. It is true musicals usually win Sound Mixing, whereas war/action films usually win Sound Editing. Also, I don’t know enough about sound to have a favourite, so I won’t make a personal judgement on who should win.

Who will win Sound Mixing: La La Land seems the favourite. It is a musical, which means there is a lot of work into the sound. It also has won a handful of sound awards already. Its fellow nominees are Arrival, Hacksaw Ridge, Rogue One: A Star Wars Story and 13 Hours: The Secret Soldiers of Benghazi. I can only think of Hacksaw Ridge as a competitor.

Who will win Sound Editing: As I said, bet for the war film, which in this case is Hacksaw Ridge. It doesn’t hurt it won a bunch of Golden Reel Awards. Its fellow nominees are Arrival, Deepwater Horizon, La La Land and Sully.

 Visual Effects

Who will win: The Jungle Book is the big favourite for this category. Its creation of all the animals is truly remarkable, so it isn’t that difficult of a choice. It also won on the BAFTAs and the Visual Effects Society.

Who should win: Although I enjoyed The Jungle Book and always love a Star Wars film, I found outstanding the visual effects behind Doctor Strange. It is probably one of the most creative things I have seen in a while.

 Original Score

Who will win: It seems La La Land is also the favourite here. Although it isn’t that common for a musical to win original score (surprising, huh?), its wins on the Golden Globes and the Critics’ Choice give it advantage over the BAFTA winner (Lion) and fellow nominees Moonlight, Jackie and Passengers.

Who should win: I loved La La Land’s music and couldn’t stop humming its soundtrack for weeks, so it is my pick, too.

 Original Song

Choosing a song is always a difficult thing. Do you have to consider the song by itself? In relation to what it does to the film, how it contributes to its storytelling? It is lucky when it’s a musical, but otherwise, it is tough to vote.

Who will win: La La Land’s City of Stars is the frontrunner. Everyone hums it everywhere. It is a memorable and lovely song. And although there could always be a surprise if the La La Land lovers divide in between its two nominated songs, I think it is mostly a safe bet.

Who should win: I love some of these songs, so it if tough. Although Trolls’ Can’t Stop the Feeling is cute, I don’t find it worthy of an Oscar (also happened with Happy). I really love Moana’s How Far I’ll Go, an instant Disney classic written by the one and only Lin-Manuel Miranda. The La La Land soundtrack made me fall in love and, although City of Stars is wonderful, I find the originality and sincerity of Audition (The Fools Who Dream) to be my favourite.

 Foreign Language Film

Here come the few categories which nominees I haven’t had the chance of seeing. So no personal opinions, just facts and predictions.

Who will win: It seemed Germany’s Toni Erdmann was the frontrunner, and Sweden’s A Man Called Ove was also well considered. But after Trump’s travel ban and controversy, I’d say Iran’s The Salesman seems like the probable winner. But don’t count the highly acclaimed Toni Erdmann out.

 Documentary Feature

Who will win: O.J.: Made in America has been so praised it seems difficult it won’t win. It won the Critics’ Choice, the Directors Guild, the National Board of Review, the PGA… only thing it didn’t win was the BAFTA (13th won), but it wasn’t nominated. Consider Ava DuVernay’s 13th a true contender (after all, is has been highly acclaimed and it talks about a very relevant topic right now), but O.J. seems to have the lead.

 Documentary (Short Subject)

Who will win: Not even the experts predict the shorts accurately. It is very difficult to know and these all talk about sensitive current topics. My pick, though, is The White Helmets.

 Animated Short Film

Who will win: Again, difficult choice, but a bit easier. Pear Cider and Cigarettes has been highly praised, but it also has a more adult theme, and voters usually associate animation with a topic suitable for their kids. Also, as Pixar was absent from the big animated category this year, I’m inclined to think they will give them the award here as a consolation price, so Piper it is.

 Live Action Short Film

Who will win: Silent Night’s director has already won on this category twice. Timecode won in Cannes, but that doesn’t really mean that much. Sing seems to be one of the favourites, alongside Ennemis Intérieurs, a thriller that deals with immigration and terrorism in the 90s. The latter seems to be slightly on the lead, but only barely.

 Final thoughts

So these are my predictions. Who do you think will win? Who should win? Tune in to watch the biggest night in Hollywood and have fun!

PS: Am I going to be struggling in between Casey Affleck and Denzel Washington until the awards start? Probably.

[cinematicbydigrazia-en]

UPFRONTS 2016: Are you ready for fall 2016?

Once again, it’s the middle of May and we’re right in the middle of Upfronts week. All the broadcast TV networks have been in a frenzy the last few weeks getting ready for this. They have organised their calendars for fall, cancelling some shows, renewing others and, most of all, announcing their new TV shows, those few lucky ones that make it out of the list of pilots and into the small screen as a full on freshman TV show.

Last week brought us interesting concepts such as Blindspot or The Player, thrillers like Quantico and The Catch, big disappointments like Wicked City or Minority Report. There were some surprises: both critics and watchers fell in love with Crazy Ex-Girlfriend (which I swore to never watch because it looked so idiotic). My two favourites, now that ’15 freshman season is over, were Supergirl and Limitless. But, what can we expect from next season?

You can access already available trailers and promos clicking on the show’s name.

 Reboots, remakes, revivals… and spin-offs!

Just like every year, Hollywood’s bottomless well of original ideas is still out of service. A few remakes every year is okay, but revivals, remakes, reboots and spin-offs crowd in the calendar and, to be honest, they aren’t really that successful for this to make sense. Las year, adaptations or revivals of movies into TV didn’t have that much success (Minority Report was cancelled and the brilliant Limitless seems in its way, now trying to survive in other channels), revivals like Heroes: Reborn didn’t get big audiences and the comeback of the Muppets was a fail. Nevertheless, the big networks are back at it again with the remakes!

Remakes and reboots come two at a time. CBS brings MacGyver back to life and we still can’t quite believe it. The well known 80s character will be played by Lucas Till (X-Men: First Class) in this reboot. CBS has also picked up Training Day, a revival/reboot of the 2001 film about LA cops. It will take place 15 years later and its main characters will be a “mature, morally ambiguous” agent and an idealistic rookie, according to The Wrap.

NBC promised us a Cruel Intentions revival/reboot, the hit 1999 movie that scandalised a generation, but the project isn’t part of its schedule, so we’ll have to wait and see. Anyway, NBC has another reboot in its future. Taken is a prequel for the famous Liam Neeson franchise. Clive Standen (Vikings) will star as a young Bryan Mills who will be learning all the skills we have seen in the movies.

FOX is up with The Exorcist and Lethal Weapon, both titles that need no introduction. The Exorcist will have a similar narrative to the cult horror classic and will introduce two very different men that will try to save a family from a demonic possession. I have no idea how they plan to extend the plot to a second season although, if this isn’t extremely good, I doubt they will have a chance to even think about it. Lethal Weapon (pictured) brings Martin Riggs and Roger Murtaugh back, this time played by Clayne Crawford and Damon Wayans. The idea is pretty much the same as the movies, focusing in their investigations and dynamic.

The last pair of reboots will be released on The CW. Riverdale will be based on Archie and follow young teen Archie Andrews and his friends while they explore the mysteries of the seemingly perfect city of Riverdale. The project has been developed by Greg Berlanti, creator of the DCTV universe that includes Arrow, The Flash and Supergirl. Frequency will be based on the 2000 movie. The concept will be the same but some details will change: a young police detective will discover she can talk to her long-dead father through a radio, but their conversations will cause an unexpected butterfly effect that will threaten life as she knows it.

There will also be a couple of spin-offs. 24 is back with 24: Legacy, an event show following the same real time format of the classic show but with a new main character. Though it doesn’t seem likely, maybe there’ll be luck and some of the original cast will make a cameo. The Blacklist: Redemption follows Tom Keen and Scottie Hargrave in a dynamic similar to the one Reddington and Elizabeth have in the original show. Finally, Chicago Justice will be another piece in the puzzle that is the Chicago franchise. Joining Chicago Fire, Chicago P.D. and Chicago Med, it will focus on the justice department of the busy city.

Prison Break will get a revival in Fox featuring the original cast. Lincoln Burrows and Michael Scofield are back in a limited series that will take place seven years after the original show.

What are their odds? The CW, as proved this year, is less strict with its shows, so their two projects have a chance to survive, at least for a full season. Prison Break is a limited series, so I don’t expect a renewal. The Blacklist: Redemption has, as any spin-off, the potential of disappointing an audience with high stakes and not interesting an audience that doesn’t know the original show. I think Chicago Justice has better odds, just because the franchise seems very solid. So many cop and action shows (MacGyver, Lethal Weapon, Training Day, 24: Legacy) will provoke a fierce fight that will end up with most of them (if not all) cancelled. Taken might me luckier, though it reminds me of last year’s The Player, and that didn’t go well. There are way too many action shows on TV, and maybe the audience is getting tired. The Exorcist, as I previously stated, will have a difficult time figuring out a second season.

 Time travel 101

It happens every year: a topic suddenly seems to interest everyone and every network decides to make a show about it. This is the year of time travel, apparently. I don’t complain, I love time travel, but I do wonder why the sudden interest.

ABC brings us Time After Time, a reinterpretation of H.G. Wells’ time machine adventures. Young Wells (played by Freddie Stroma, last seen on UnREAL) creates a time machine that will change his life. When policemen arrive at his house looking for Jack the Ripper, Wells discovers his friend John is actually the infamous serial killer. John runs away to the future and Wells follows him, trying to save the present.

NBC’s Timeless rings a bell if you’re Spanish, because its plot sounds a little too much like Spain’s El Ministerio del Tiempo. A scientist, a soldier and a history teacher will travel through time to fight an enemy that wants to break wreak havoc in the past. The show has been developed by Eric Kripke (Supernatural) and Shawn Ryan (The Shield, Lie To Me).

Fox has opted to go the sitcom way with Making History. Created by Phil Lord and Chris Miller (the masterminds behind The Lego Movie, 21 Jump Street and the future Han Solo film), the show follows a young man (Adam Pally, Happy Endings) who owns a duffel bag that travels through time. He has used it to get a girlfriend in the colonial era. Unfortunately, he may have stopped the American Revolution, so he must join a friend and his girlfriend to save America’s history.

Although they have their topic in common, these are three very different shows. I’m kinda interested in Time After Time and Making History, but Timeless looks a bit boring and unoriginal (sounds a bit like DC’s Legends of Tomorrow meets El Ministerio del Tiempo). It’s unlikely more than one will survive the season, if any.

 Promising dramas

I have divided dramas and sitcoms in the good and the bad, or the expected good and bad. This is all opinions based on trailers, casts and plots, so mostly guessing.

ABC seems promising as usual. Apart from Time After Time, it will release four interesting-looking dramas.

Designated Survivor is the closest thing to apocalypse Americans can probably imagine. Also, a show that plays with who might occupy the Oval Office in a time so close to the elections might be certainly interesting. The show starts the night of the State of the Union, when a terrible terrorist attack kills the president and his whole cabinet. Only Tom Kirkman survives (Kiefer Sutherland, 24), he is the designated survivor. The idea ensures a member of the cabinet is always safe in case something happens to everyone else so they can become the president. Kirkman, Secretary of Housing and Urban Development, must face a challenge he had never expected and keep America from going into chaos.

I’m still unsure about Still Star-Crossed. On the one hand, it’s Shondaland and that’s why it’s in this category (look The Catch, it turned out better than expected). After Romeo and Juliet’s deaths, life in Verona keeps going and Capulets and Montagues aren’t in good terms. Rosaline, Juliet’s cousin, must marry Benvolio, Romeo’s cousin, to try and end the conflict. Scandal, romance and treason follow. It looks good, but period dramas always have it tough. Also, trying to make a Shakespeare sequel is really dangerous.

Hayley Atwell is back at ABC with Conviction. Atwell will play Hayes Morrison, a high society lawyer that is forced to work for her nemesis, NY District Attorney Wayne Wallis, so she doesn’t end up in jail and ruin her mother’s Senate campaign. The show seems promising and very Shondaland (although it isn’t). Atwell is also why this show is a must for me next fall.

Notorious will replace Scandal in ABC’s TGIT until it comes back in midseason (guessing here, but it’s the most logical reasoning with Kerry Washington pregnant). The show introduces Piper Perabo (Coverts Affairs) and Daniel Sunjata (Rescue Me, Graceland) as a TV news producer and a successful defence lawyer that team up for their mutual benefit. It’s based on a true story and its study of the interaction between media and crime law seems intriguing.

The four shows have potential, but I think Still Star-Crossed may be the weakest ones just because period dramas are more expensive and usually attract less audience in broadcast networks (all the hit period shows are on cable TV).

 Dramas that could be okay…

The following dramas may have potential, but don’t look as exciting. We’ll see how the develop during their freshman season.

Shots Fired is an event show about a very current topic: police brutality and racial tension. When a POC cop kills a young white man that didn’t seem armed, a massive investigation develops looking for the truth. Although the situation is the reverse from what usually has happened in reality (white cop shooting POC man), the show will surely provoke a lot of talk.

Doubt will arrive in 2017 and sees Katherine Heigl (Grey’s Anatomy) and Laverne Cox (Orange is the New Black) teaming up. Heigl will play a chic, successful and smart lawyer working for a fancy firm who falls in love with her client, a potential murderer. Although the concept seems intriguing, I don’t know if it’ll live up to it.

Transylvania is a horror drama The CW will release in 2017. Little is known, but the show will take place in 1880, when a young girl will travel from NYC to Transylvania looking for her father. There, she’ll fight terrible monsters alongside a Scotland Yard detective. If this works, the CW is definitely the place for it.

Bull is inspired by the first years of Dr. Phil’s career. Doctor Bull is the ultimate puppet master. He uses psychology and technology to predict what the jury will think and what they’ll verdict will be, who to focus on and who to use to win a trial. It sounds very promising, but shows like Lie To Me usually have it difficult. By the way, the trailer basically shows the whole pilot.

 Will these dramas last past Christmas?

These last few dramas don’t look very good, or they look good but they may not get a big enough audience to survive. Some might surprise us, though.

APB is one of four Fox TV shows (out of eight dramas) about cops. After a friend’s tragic death, tech genius and billionaire Gideon Reed buys a police precinct in trouble so he can try and apply his technology in their operations and find his friend’s killer. The premise is good, but I doubt it will last.

Pure Genius is Grey’s Anatomy on steroids and if the Grey Sloan Memorial had unlimited funding. Jamie Bell (Augustus Prew) is a millionaire genius who owns a hospital full of tech that seems to make miracles happen. He wishes to hire Walter Wallace (Dermot Mulroney) and find the cure for the illness he inherited from his mother. As I said, it’s Meredith Grey trying to cure Alzheimer, but with more money and futuristic tech. Doesn’t look bad, but these technology-full dramas usually don’t end up well (see Minority Report).

Pitch is seemingly feminist and different, but sport TV shows don’t usually work unless they are connected to a high school context that sustains the plot (Friday Night Lights, One Tree Hill). A young baseball pitcher is the first women in the MLB, but her time in professional baseball won’t be easy. In my opinion, this would more likely success as a movie rather than a TV show.

Star looks like a cheap Empire. Empire co-creator Lee Daniels is the developer, so I stand corrected. The concept doesn’t look too original now Empire has been around for a couple years. Star follows three young girls fighting to find their place in the music industry. It has original songs and A-list recurring characters (Queen Latifah, Lenny Kravitz). I don’t really think it will survive, we don’t really need a lower quality Empire.

This is Us is an ensemble show that follows a group of people with the same birthday. They have very different stories but they are somehow connected (according to the official plot, the trailer doesn’t make this very clear). But it isn’t a cool Sense8 look-a-like, don’t get excited. The trailer has been, so far, the most watched on NBC’s Facebook. I think this kind of shows (without action, thriller, fantasy) have it difficult on TV, but maybe cop/action shows fatigue could help it.

Midnight, Texas is a new adaptation to TV of Charlaine Harris’ (True Blood writer) novels. It will also be fantasy and monsters, but it won’t be as adult because it won’t be on cable TV. The plot takes place in a mysterious Texas city where nothing is what it seems and those who are different can live peacefully. I don’t really think a toned down True Blood will work in a network other than the CW (looking at you, The Vampire Diaries).

 Sitcoms that actually look funny

Networks keep betting big on sitcoms even though they haven’t yet found a new The Big Bang Theory or How I Met Your Mother and they usually have to cancel half of them by Christmas. But they are cheaper, more dynamic and require less time to make and watch, so they are still the surest bet.

The following comedies actually look different and original, far from the never ending list of family sitcoms playing in every single channel. Maybe they can keep Superstore company.

Powerless is one of the most talked-about sitcoms this year. It will be DC’s first comedy and will feature the opposite type of character: powerless people. Emily (Vanessa Hudgens, High School Musical) is an insurance agent specialised in damage provoked by superheroes fighting crime. Basically, it’s any superhero show you’ve seen but from the point of view of, well, what would probably be you. It looks hilarious, to be honest.

Downward Dog is an interesting version of the classic “animal talking” premise. The show follows Nan, a millennial trying to survive the real world, but it is told from Martin’s point of view. Martin is Nan’s dog, he is very philosophical and feels lonely. He talks to the camera about his owner and the evil cat in the neighbourhood. I don’t know if this show will be able to survive (difficult for an animal show) but it will definitely bring some laughs.

The Great Indoors is also about millennials and uses all the stereotypes they could find. Surprisingly, this baby boomer point of view of today’s young adults is less offensive and more funny. It is full of that “millennials don’t know what life is about and are obsessed with technology” ideology there is, but it actually looks fun, not unoriginal. Hopefully it won’t all be one-dimensional clichés.

No Tomorrow is a comedy based on a Brazilian show and it is obviously following the success of Jane the Virgin in The CW. The show follows Sarah, a worker in an Amazon-like shipping centre who isn’t a fan of taking risks. She falls in love with Xavier, a man who isn’t afraid of anything and lives every day like it is the last one because he thinks the end of the world is imminent. I trust The CW will be able to make this awesome like they’ve done with Jane and Crazy Ex-Girlfriend. I was wary of both Jane and Crazy and ended up wrong, so I’m optimistic this time around.

Son of Zorn is Phil Lord and Chris Miller’s second sitcom in Fox this year. I don’t know if I’ll like it, but it definitely looks original and fun. It’s an animation – live-action hybrid about a barbarian warrior who returns to the real (live-action) world to take care of his live-action son; he has to find a job and get used to the world. I don’t know if this will work in broadcast TV, but I will definitely give it a chance.

The Good Place is a fantasy sitcom starring Kristen Bell, what else can I say? After dying tragically, Eleanor (Kristen Bell, Veronica Mars) ends up in Heaven, or the “good place”, where everyone is nice and you can’t get drunk. Soon enough, she discovers she is the wrong Eleanor and she shouldn’t be there. She must decide between telling the truth, staying or trying to go back to Earth. If the premise works, this could be brilliant.

 And sitcoms I swear I’ve already watched a thousand times

But most sitcoms sound like dozens of shows we’ve watched before. There’s nothing new and, frankly, I will probably be too lazy to even give them a try.

Imaginary Mary is one of two sitcoms about imaginary friends that were pitched this year. NBC’s Imaginary Friend didn’t make it, but ABC has decided to give it a chance. A woman’s childhood furry imaginary friend reappears when she is faced with becoming the mother of her boyfriend’s children. It doesn’t sound very original and the postproduction involved in the imaginary friend will probably make this sitcom more expensive than usual. It also reminds me of last year’s CBS Angel from Hell which, let me remind you, was a complete disaster about a troublemaker guardian angel.

It’s easier to explain American Housewife by its original title: Fattest Housewife. Katie Otto is a mom and wife in a high class neighbour who feels insecure when comparing herself to all the cliché moms living there. The overused trope of the average woman fighting against the mean girls is too old and I doubt this will last.

Speechless is yet another sitcom about a family… with one difference: one of the children has special needs. His mom Maya is always trying to make his life as easy as possible as he is a hundred percent dependable. As a drama, it would have been too dramatic. As a comedy, it looks frivolous and I don’t think I like the direction they’ve decided on.

Kevin Can Wait is one of two shows about a father overwhelmed by his family on the CBS. Literally, two shows that are way too similar. Kevin (Kevin James) has just retired and plans to enjoy his free time with his buddies. But the return of his oldest daughter from college with a fiancée and moving it changes all his plans. Although it looks funny, it is yet another family sitcom that doesn’t look too original.

Man With a Plan is the other overwhelmed father on CBS. Adam (Matt Le Blanc) has always been the working parent while his wife took care of the kids. When his wife decides to go back to work, he has to stop being the “cool dad” and start assuming responsibility.

The Mick is the story of a single, childless, wild woman who has to take care of her posh rich sister’s children when she has to flee the country to avoid being arrested. It reminds me of Trophy Wife, but much worse. The stereotype of the single middle age gross woman is one I don’t really like and it reminds me too much of low quality stuff like Bad Teacher or Bad Judge.

In Great News, Katie has a successful career as a television news producers. Things get interesting when her mom decides to intern in the network. Will she help her daughter or get her fired? Man, how did this make it to TV?

Marlon is NBC’s take on the overwhelmed father. Marlon (Marlon Wayans) is an inappropriate but caring father who must take care of his children alongside his ex-wife, who is his polar opposite. Doesn’t look too promising either.

In Trial & Error, a young and naïve lawyer from New York travels to a small Southern town for his first case. There he’ll have to defend an eccentric professor accused of killing his beloved wife. To be honest, just looking at its slogan (“Making a Murderer can be funny!”) makes me cringe.

 All in all…

What do you think of next fall’s freshman shows? Any favourites? Which shows will you watch and which ones will you avoid from minute one?

PS: NBC keeps deleting their trailers from YouTube, so their links may be broken, although I’ll try and replace them.

[cinematicbydigrazia-en]

Who is who in Civil War

Civil War is right around the corner and the hype is strong with this one. Fans are hoping it’s the superhero event of the decade and critics are hinting at exactly that. Empire’s Dan Jolin’s early review confessed “Captain America: Civil War is the best Marvel Studios movie yet. There, we said it”. Variety’s Justin Chang alludes to Batman v Superman’s terrible reviews (although, they have to admit it didn’t do that bad on the box office) and says “The shaming of Batman v Superman: Dawn of Justice will continue apace – or better still, be forgotten entirely – in the wake of Civil War, a decisively superior hero-vs.-hero extravaganza that also ranks as the most mature and substantive picture to have yet emerged from the Marvel Cinematic Universe”.

We all know everyone and their mother will be watching the film when it comes out next week (for lucky fellows in Europe) or in two weeks (if you’re in the US). But while big fans already know everything to be known about the movie and its characters, casual viewers will be a bit more confused in Marvel’s biggest showdown to date. Some might have only watched the Avengers movies, some might have missed the last two Captain America instalments, some might have not looked at cast news or trailers… and there are always newbies. So let’s take a quick look to know what to expect with the film that is expected to break MCU records.

What is Civil War? What is it about?

Captain America: Civil War is the third standalone Captain America film. It is also the first Phase 3 movie in the Marvel Cinematic Universe.

Civil War is loosely based on the comic event with the same name released between 2006 and 2007. The story supposes a total shift in the Avengers dynamics, breaking friendships, creating new alliances and ending with the team as we know it. Why, you might ask.

Avengers missions keep leaving collateral damage and the government decides to act. The Sokovia Accords are created as a system of accountability and a way to control superheroes, deciding where, when and how they will intervene. After the events of Avengers: Age of Ultron, Tony Stark (Iron Man) is sure that regulation is the best way to ensure less collateral damage and a better performance. But Steve Rogers (Captain America) is firmly against government oversight. Moreover, he needs to protect his longtime Bucky Barnes (the Winter Soldier) after his criminals acts while controlled by HYDRA have him on the run. The remaining avengers (minus Thor and Hulk) and some new friends pick a team in the resulting battle to decide whether superheroes will be under government control.

This is not only a film about superheroes, the good and the bad. Any viewer can be for or against the Sokovia Accords. This creates a great ethics, freedom and responsibility debate that will go beyond the plot of the movie. At the end of the story, the audience will have to choose if they are #TeamCap or #TeamIronMan and maybe they won’t be the same team they were when they entered the theatre. 

Also, did I mention there could be a potential death in the film? The comic event had a big character die and fans everywhere are sure an important character will die. Maybe it won’t be the one in the comics, but it would be reasonable. So place your bets!

 Wait, is this a Captain America film or an Avengers film?

This has been the biggest question around Civil War. Many have argued a film that features so many avengers and characters has to be considered Avengers 2.5 rather than Captain America 3.

Others (including the team behind the movie) reiterate this is a Captain America movie because it centres on Cap’s story. Yes, it is also Tony’s story (and Bucky’s, Natasha’s, etc.), but the main focus is on Steve. It deals with the consequences of Age of Ultron, but it also finds Steve Rogers fighting for Bucky (after The Winter Soldier’s reveal) and for his beliefs. It isn’t about the Avengers and their greater plot arcs, but about Steve and his continuous battle for doing what he thinks is right and for protecting those he loves. 

Despite the reasoning behind both opinions, you can consider the film whatever you want. Whether it’s a Captain America or an Avengers movie, the film will remain the same.

 How is this different from Batman v Superman?

Oh, yeah. Yet another movie with two big superheroes fighting each other? But we had one like that just a month ago! Yes, but no.

There are many differences between both films (and I will study this more closely once Civil War is released), but I think there is one distinct difference in the conception of both movies. Whereas Batman v Superman: Justice of Dawn was used as an introduction for the DCCU, Captain America: Civil War takes place on an already established universe. We know the characters, we have seen them in various films, we have seen them develop and change through adventures and their years on screen. There is motivation behind their actions. We don’t need the characters introduced, we won’t lose time learning why they are doing what they are doing.

No matter whether you liked or loathed (or just remained neutral, like me) Batman v Superman, we all know it spent a lot of time introducing characters. There was Batman and why he was the way he was (man, the origin story once again was so unnecessary) and also the introductions of Lex, Wonder Woman and even Flash, Aquaman and Cyborg. With Civil War, we won’t have to wait for all the basis to be established, we will go right into the problem.

 Who is that guy? And what is Spider-Man doing here?

Okay, so you haven’t watched some of the films. Or maybe you have just forgotten. And there are even new faces! Here you go, a quick guide into the main characters of Civil War. This will obviously contain spoilers from MCU movies prior Civil War.

 Captain America

Steve Rogers is a super soldier created by the American Army to fight the Nazis during World War II. After sacrificing himself to save the world and losing his best friend, Bucky, during the fight, he wakes up in the 2010s. He has been asleep after crashing into ice for more than 60 years and the world has changed greatly around him.

Steve is a noble and brave man. He is known for always doing what he thinks is right, fighting for freedom and justice and battling those in power that threaten to hurt the weak.

After being awakened, he joins the Avengers, a super team assembled by Nick Fury, S.H.I.E.L.D.’s director. With the Avengers he fights villains and threats against the human race. He finds a group of people he can consider his family in this foreign time.

During The Winter Soldier, Steve is faced with two big challenges: the fall of S.H.I.E.L.D. after being revealed it was controlled by the evil HYDRA, the organization he died to destroy; and the discovery of Bucky, his best friend, who is alive and has become the lethal assassin the Winter Soldier after being brainwashed by HYDRA.

Now S.H.I.E.L.D. is gone and they are trying to finish off every last bit remaining of HYDRA. Steve is training the New Avengers and, with Falcon’s help, looking for Bucky.

 Iron Man

Tony Stark is the original avenger. He is a multimillionaire genius that created an armoured suit after almost dying in Afghanistan. He decided to fight evil with it and never had a problem with revealing his identity.

Tony self-describes himself as an “eccentric genius, billionaire, playboy and philanthropist”. After an encounter with the Chitauris (an alien race that tried to conquer the Earth) and almost dying in outer space, Tony has PTSD and becomes obsessed with protecting the world from alien threats. His creation, the A.I. Ultron, turned against him and nearly destroyed the world trying to kill the Avengers, whom he considered were the greatest threat against humanity.

 Black Widow

Natasha Romanoff is one of the best spies and assassins in the world. Trained at a Red Room facility to become a soviet spy, she started working for S.H.I.E.L.D. when Clint Barton (Hawkeye) was assigned to eliminate her but decided to rather recruit her.

Natasha is an independent, strong and brave spy. She doesn’t reveal her emotions or her thought and is rather secretive about herself, although she has started opening up to some friends (Steve Rogers, Clint Barton) and even developing a potential romantic relationship with Bruce Banner. Natasha is an excellent liar and can create any persona to get her way.

Natasha helped Steve take down S.H.I.E.L.D. and HYDRA and is now training the New Avengers alongside him. In Civil War, however, she seems to side with Tony.

 Winter Soldier

Bucky Barnes is Steve’s childhood best friend. They were friends for decades before Bucky fell to his death while fighting HYDRA and Steve crashed into ice in the 1940s. When Steve wakes up in the 2010s, he thinks his friend died long ago.

In The Winter Soldier, Steve discovers Bucky isn’t dead. He was saved by HYDRA and brainwashed and now he is a lethal assassin working for the bad guys. Bucky seems to have little recollection of his life before the fall and is often brainwashed so he forgets missions or people.

Bucky used to be Steve’s best friend. He was brave and loyal and the two men were like brothers. Now, Steve is looking for him so he can remind him of the man he used to be, but he is also running for his life now HYDRA is gone and the authorities think he’s a killer.

 Black Panther

Little is known about T’Challa’s character in the MCU as his first appearance will be in Civil War. T’Challa is the prince of the African Kingdom of Wakanda, the only source of Vibranium in the world.

T’Challa becomes the Black Panther to protect his country and partners with Tony in Civil War. He has superhuman abilities and the power to access the knowledge and experience of every previous Black Panther.

T’Challa will get his own story in 2018, when Black Panther is released.

 Falcon

Sam Wilson is a former US Air Force paratrooper that first appeared in The Winter Soldier and quickly became an important ally to Steve Rogers. Sam helps Steve bring down HYDRA and search for Bucky.

Sam is a loyal friend and a brave soldier. He doesn’t have special powers but he owns a specialized winged jetpack that makes him able to fly like a falcon, hence the name. His goggles also give him enhanced vision.

Sam is, obviously, Team Cap in Civil War.

 Spider-Man

Peter Parker gets his third opportunity in the big screen thanks to an alliance between Sony and Marvel.

 Little is known about the new incarnation of Peter Parker. He will be younger and will interact with the Avengers. He will be Team Iron Man. And, of course, he will wear red and blue while shooting webs and slinging around the city. Other than that, all we know is he is the star of the show and critics are head over heel for him.

 Hawkeye

Clint Barton is a former special agent of S.H.I.E.L.D. and one of the only two humans in the Avengers with no special powers or suit to give him abilities.

Clint first appeared in The Avengers, where he spent most of the movie under Loki’s spell. In Age of Ultron we discovered he has a family, hidden so no harm will come to them for his acts.

Clint is dedicated and compassionate. He is an excellent archer and a loyal man. He is Team Cap, which means he will fight against Natasha, his best friend.

 Scarlet Witch

Wanda Maximoff is the remaining half of the Maximoff twins after her brother Pietro’s demise in Age of Ultron. Her powers are the result of HYDRA experiments for which she volunteered seeking revenge against Tony Stark and Stark Industries after her parents were killed.

Wanda fought alongside HYDRA and Ultron and against the Avengers until she discovered Ultron planned to kill all humankind. Now, she’s part of the New Avengers.

Wanda is quiet and powerful. She has telekinesis, can levitate and can create energy blasts or shields. She can also read people’s minds and manipulate them.

Wanda is Team Cap.

 Ant-Man

Scott Lang was introduced in his own movie last year. A former professional criminal, he is now the superhero known as Ant-Man. He steals Hank Pym’s Ant-Man suit and later is awarded it after helping the man and his daughter battle Yellowjacket, an ambitious old student of Pym.

Scott is funny and caring, and he loves his daughter above everything. His suit makes him able to change size and gives him superhuman strength and the ability to manipulate and control insects.

Scott is new to the Avengers world and is Team Cap.

 War Machine

James Rhodes is Tony Stark’s best and oldest friend and a pilot in the US Air Force. He has appeared in various Marvel films and proved himself loyal to Tony. He is now part of the New Avengers.

James owns a suit similar to Tony’s and designed by his friend. With his suit, he can fly and he has superhuman strength and abilities; it also has various weapons to use. James remains loyal to Tony during Civil War.

 Vision

Vision is the creation of Ultron and J.A.R.V.I.S., Tony’s user interface computer system. He was originally created by Ultron to contain his mind and fight the Avengers, but instead Bruce Banner and Tony implanted J.A.R.V.I.S. into the body, which was born thanks to the Mind Stone.

Vision is new to the world and to the Avengers, and he has become part of the New Avengers. He has superhuman strength, he can levitate and hack and he is able to create energy blasts. He is Team Iron Man.

 Sharon Carter

Sharon Carter, also known as Agent 13, is briefly seen in The Winter Soldier as a S.H.I.E.L.D. agent spying on Steve under Nick Fury’s orders. She is Peggy Carter’s descendant (possibly her granddaughter or grandniece) and is actually working for the CIA.

Little is known about Sharon, but she will join Team Cap in Civil War.

 Why is Cap against the act? Why is Iron Man for it?

The reasons behind Captain’s opposition are pretty logical. He has always fought for freedom and justice. He has saved the world numerous times and supervision hasn’t always been good. He has needed to break the rules once in a while and doing it has actually helped save people. Moreover, he doesn’t have a good track record with authority. Last time he trusted an institution (S.H.I.E.L.D.), it turned out it was controlled by his enemies, HYDRA, who were trying to kill anyone who could suppose a threat to them.

What about Iron Man? If Tony is a rebel, why does he agree with more control? This probably has to do with Ultron. Tony has tried to take matters into his own hands many times before. Like with Ultron, the A.I. he designed to protect the world that almost ended up destroying it. After his failure, Tony probably agrees the government could help prevent this kind of thing. He thinks they deserve it, they only create chaos and destruction.

 Will you be watching Captain America: Civil War its opening weekend? What are you most looking forward about it?

Captain America: Civil War will be released April 29th in the UK and most of the world and May 6th in the US and remaining countries.

[cinematicbydigrazia-en]

International Women’s Day: Celebrate with a selection of strong women on TV!

Who run the world? Girls! What a better way to start my International Women’s Day than quoting Beyoncé’s anthem. We have already recovered from our Oscars hangover and it’s time to celebrate one of the most relevant days of the year.

International Women’s Day should be a big deal for everyone around the world. Celebrating women and demanding equality shouldn’t only be done once a year, but this day is a way to showcase how sexism and inequality are still real, and how women around the world fight every day to make this a better world.

And what is better to celebrate this day than binge watch TV shows with strong female leads? Strong, independent women that can do anything. Working in traditionally male jobs, breaking stereotypes, demolishing the Mary Sue trope, proving women can be both sensitive and strong, ambitious and caring.

I have already written a similarly themed post a few months back in my Spanish blog, but I thought this was ideal for this day.

 Shondaland: the land of three-dimensional women

Why not start with Shondaland? Shonda Rhimes has proven over and over again she is one of the best creators on TV right now. She writes incredible characters, with superb development and a complex story. She is one of the best creating shows that reflect this world’s diversity and representing reality in all its shades and possibilities.

You can enjoy Grey’s Anatomy. Grey’s is Shondaland’s tentpole and it has already been renewed for its 13th season, so that would be a heck of a binge watch. The show has a lot of character (it is, after all, an ensemble show on its twelfth season), and many of them are incredible women. Just look at Meredith Grey, the main character, a strong intelligent woman who has been through the impossible. She has proved once and again she doesn’t need a man, she doesn’t need her mother’s legacy, she is her own person and she can survive anything.

Meredith’s best friend, Cristina Yang, was an ambitious self-driven doctor who excelled in her job. She was the best of the best and she wasn’t afraid to show it. Their once resident in charge, Miranda Bailey, is incredibly talented and has gotten far in both her personal and her professional life. Callie Torres, Arizona Robbins, April Kepner, Maggie Pierce, Stephanie Edwards… they are all very different women. Grey’s shows us it’s possible to write diverse women, with their backgrounds and personalities. They have different dreams, different priorities, different experiences.

Or maybe you can watch Scandal. Olivia Pope is, after all, one of TV’s most beloved characters. And if you are into shady plots, you should watch How to Get Away with Murder, a shocking show starring the incredible Viola Davis. In HTGAWM, you’ll see darker characters involved in a web of lies and crime.

 The CW: where incredible characters are born

Only a few years ago, The CW was mainly known for its romantic shows targeting teen girls. It was all about romance, gossip, scandal and so many stereotypes. Although you could totally enjoy those (god knows I did), fortunately the CW has started creating shows with less stereotyped leads, and they are worth a watch.

iZombie is already airing its sophomore season. The crime show’s main character is recently turned zombie Liv Moore (and yes, that is an intended pun). After turning, Liv starts working as a coroner’s assistant at the local morgue so she can get brains easily. Turns out, she ends up helping detective Clive Babineaux in his murder investigations thanks to the visions she has of the victim’s memories. Liv is a very interesting character that has to deal with a gigantic change in her life and still keeps going, keeps on living and helping other people.

You could also watch Reign. What is better to celebrate than a strong woman that has to rule over a country? An incredibly brave woman that has to rule over two countries. Mary Queen of Scots has lived in France for years, escaping the instable Scotland but not its problems. As just a young woman, she has to rule over both countries while fighting against England. Mary is an incredible character. She fights for both her personal life and her people, and she has to make terrible sacrifices. Her character development is real and moving.

And we can’t forget The 100, the dystopian story set 97 years after a nuclear war in Earth. Returning from space, the remains of the human race have to deal with this new Earth and, to their surprise, its inhabitants, the humans that were left behind. Clarke Griffin is the main character, and she soon becomes the leader of the first 100 people on the ground. She is one of the best characters on TV right now: strong, sensitive and incredibly intelligent. Bonus points for diversity: she is also bisexual. Along Clarke, you will meet Octavia Blake, a fierce girl fighting for freedom and justice; Raven Reyes, strong and brave; Commander Lexa, leader of the Grounders.

And if you are into comedy, Jane The Virgin is the one for you. The critically acclaimed TV show features one of the most human women on TV. Jane Villanueva is a woman many can identify now, both for her personality and because of her background. It obviously highly unlikely you are also a pregnant virgin, but it is a show grounded in the real world, far from space, superpowers and conspiracies. Jane usually faces daily problems we all have to deal with.

 It’s all about superheroes these days

If you are into superheroes, there are also many choices for you. Although Arrow, The Flash and DC’s Legends of Tomorrow feature a few cool women, they are more about the men. But there are many incredible female-driven superhero shows nowadays.

CBS’s Supergirl is the only show on TV (not counting Netflix) with an actual female superhero as its lead. I’m talking the whole deal: superpowers, incredible origin story, cool suit. Very similar to The Flash in its style and tone, Supergirl is the story of Kara Zor-El, Superman’s cousin. One thing I love about the show is how incredibly it combines Supergirl’s adventures with Kara’s daily life. Along with Kara, her sister Alex and her boss Cat Grant (portrayed by an amazing Calista Flockhart) are amazing female characters as well.

If you are more into Marvel, I have two TV shows for you. Agent Carter is the story of brave, intelligent, beautiful and modern Agent Peggy Carter. Previously known as Captain America’s badass sweetheart in Captain America: The First Avenger, the show is fully about Peggy. It’s a hidden gem, as many only know it’s big brother Agents of S.H.I.E.L.D., but it’s a must if you love the MCU. It’s also one of the most feminist shows on TV.

Marvel’s Agents of S.H.I.E.LD. is also led by incredible female characters. As I mentioned on my post “We love you, Marvel, but this has to change”, Marvel’s sexism towards female characters seems forgotten on the small screen, and the show features strong independent women who are more than a love interest or a plot device for the lead superhero.

Marvel has one last offer for you if you tune into Netflix. Jessica Jones is different from anything you have watched about superheroes. Jessica is a former superhero who has her own detective agency and helps people with remarkable abilities in NYC. Jessica Jones is a very complex character and her story is very compelling.

 Blast to the past

Want something to fully binge watch? These TV shows have been over for a few years, but still celebrate incredible women.

Who doesn’t know Buffy the Vampire Slayer? The iconic show starring Sarah Michelle Gellar run for seven seasons until the early 2000s and is one of Joss Whedon’s finest works. Buffy Summers is a young teen that suddenly discovers her destiny is becoming the Slayer, the chosen woman that must battle evil forces. Buffy has amazing character development, and Buffy Summer is probably one of the most vulnerable, real characters I’ve ever seen.

Or maybe you could watch the witty Veronica Mars. From iZombie’s creators, this little noir masterpiece focuses on Veronica, a teen detective and high school student that kicks ass and amazes the world. Veronica Mars is funny, entertaining and a must for anyone into well developed characters and mysteries.

 Or maybe you’re looking for something different

If you prefer a film today, last year we got a few very great feminist empowering movies. You could check the recently Oscar winner Mad Max: Fury Road, the new instalment of Star Wars or the last part of the female-driven The Hunger Games franchise.

You just enjoy and celebrate. And remember, we fight every day to be equal. 365 days a year we must battle sexism and inequality, both in real life and fiction. Because we are all human, and we all deserve the same opportunities, treatment and respect.

[cinematicbydigrazia-en]

OSCARS 2016: FINAL PREDICTIONS

In just a few hours, we’ll be able to finally watch the Oscars. And what a year it has been! Many movies, and difficult predictions! I have to admit this has been a particularly difficult year. While last year the fight between Birdman and Boyhood made us crazy, other categories were much more obvious. This year, it’s not only Best Picture that is doubted, but also Costume Design and both Sound categories are difficult bets.

But I’ll stop rambling now. Let’s go with the final predictions! You can see who I think will win, and also take a peak at how I calculate my predictions, which, I admit, is a little crazy and confusing. Who will win? Who should win? And most importantly: Why?

 BEST PICTURE

Will win: The Revenant

Frontrunner: Spotlight

Should win: Mad Max: Fury Road

Why? This has been a difficult race. The Revenant was the favourite a few months ago. Then came the SAGs, the WGAs and the PGAs and it looked like we were facing another standoff just like last year: The Big Short or Spotlight? But then came the DGAs, and the BAFTAs.

Usually, when a film gets the three “musts” (or two out of three), it will win. But this year, the PGA, the DGA and the SAG ensemble award went to three different movies. How to predict then? Firstly, the battle was clearly in between those three movies. So scratch the other 5. Now: The Revenant has the most nominations (12), and is going to win Best Director. And although The Big Short and Spotlight both have the Critics’ Choice Award for Best Picture, neither won the BAFTA nor the Golden Globe.

Almost no movies have won without a SAG ensemble nomination nor a screenplay nod (The Revenant doesn’t have any), but then again Titanic won without a script, and Braveheart won without a SAG nom. This may make it look tough for The Revenant, but the film has received many other awards and praise. Just because it isn’t an ensemble movie, it doesn’t mean it doesn’t stand a chance.

It might seem difficult to predict only by nominations and awards. So let’s go to the facts. There’s a THR writer and mathematician who predicts the Oscars by a mathematical model. He got an impressive 18 wins by this method last year. His model gives The Revenant a 51.5% percent of winning. Spotlight comes a far second, with a 25.5%.

You could also consider the fact that this category is voted by ranking all nominated films. So, a movie ranked #1 by some but #7 and #8 by others could lose to a movie mostly ranked #2. This could be big for The Revenant, which surely will fall between #1 and #3 in all rankings.

Finally, there’s the fact that The Revenant is a film made for the Oscars. It’s pure Oscar bait. It has everything: an exciting plot, marvellous directing, a talented cast with an outstanding lead, stunning cinematography and editing.

If The Revenant fails to win, it will be only to Spotlight. It might have been a tight race, but The Big Short is now far in the third place, probably because its complicated plot has confused or annoyed some voters.

If it were for me, Mad Max: Fury Road would win. It’s the whole package and it’s far more original than any other movie. It’s revolutionary, it’s art. Its cinematography, visual effects and editing are out of this world. It’s a fierce story about rebels and feminism.

 DIRECTING

Will win: Alejandro G. Iñárritu for The Revenant

Frontrunner: George Miller for Mad Max: Fury Road

Should win: Alejandro G. Iñárritu for The Revenant 

Why? It is really impressive to win this award twice in a row, but it seems Iñárritu will do just that. The most obvious indicator is his DGA win. If you are still unsure, take a look: Golden Globes and BAFTA have also awarded him for Best Director.

Why is George Miller the frontrunner? Apart from an incredible return to his beloved franchise, in which he has made a real masterpiece, Miller was the Best Director for the Critics’ Choice Awards.

Still, Iñárritu should win for an overall great job done. The Revenant is excellent, from its cinematography to its editing, and the plot is developed just at the right pace, not a minute too long. The actors have given the best of themselves, and that can also only happen under a great director’s orders.

 ACTOR IN A LEADING ROLE

Will win: Leonardo DiCaprio for The Revenant

Frontrunner: Matt Damon for The Martian

Should win: Leonardo DiCaprio for The Revenant 

Why? Leonardo DiCaprio has been playing increasingly more difficult and challenging roles for the last few years, as if desperately reaching for the Oscar. It seems 2016 is his lucky year. Awards don’t lie: SAGs, Golden Globes, Critics’ Choice, BAFTAs. There is not a chance he won’t win.

If I had to guess a frontrunner, which won’t happen but still, it would be Matt Damon. Critically acclaimed, one man show, and awarded with the Golden Globe in the Comedy category. But it won’t happen.

Does DiCaprio deserve the award? He has deserved it before, and he definitely deserves it this time. Not only he was excellent in his performance, but the conditions he had to endure were enough to drive a man crazy. He’s played the ultimate Oscar bait performance. Tonight, he will get his award.

 ACTRESS IN A LEADING ROLE

Will win: Brie Larson for Room

Frontrunner: Cate Blanchett for Carol

Should win: Brie Larson for Room

Why? Just as DiCaprio, Brie Larson has swiped every acting category to ever be: Golden Globes, BAFTAs, Critics’ Choice, SAGs. Her performance has been acclaimed by every single critic and expert across the globe.

A distant frontrunner would be Cate Blanchett. She doesn’t stand a chance, but she is the best considered of the other four. Maybe, even, Jennifer Lawrence, with her Golden Globe winning. But Larson will win.

Brie Larson definitely deserves the award. Her role is the most complex and difficult to play, and she performs it beautifully. She breaks the audience’s heart while she survives just on her own willpower.

 ACTOR IN A SUPPORTING ROLE

Will win: Sylvester Stallone for Creed

Frontrunner: Mark Rylance for Bridge of Spies

Should win: Mark Rylance for Bridge of Spies

Why? Stallone has won the Golden Globe and the Critics’ Choice. But there is a problem: he hasn’t won the SAG (he wasn’t even nominated) and lost the BAFTA to Mark Rylance. It’s one of the tightest races left. Rylance losing the SAG and the Academy’s expected tendency to honour his career as well as his performance gives him a slight upper hand.

Although Stallone is incredibly good in his role, Rylance gives just the most amazing performance, one of those performances that are called “the performance of a lifetime”.

 ACTRESS IN A SUPPORTING ROLE

Will win: Alicia Vikander for The Danish Girl

Frontrunner: Kate Winslet for Steve Jobs

Should win: Alicia Vikander for The Danish Girl 

Why? I have previously analysed this. Vikander won the SAG and the Critics’ Choice. Winslet won the Golden Globe and the BAFTA. It looks like a tie, doesn’t it? There is a trick to understand it: both at the GG and the BAFTAs, Winslet was up against Vikander for a whole different film. In both award shows, Vikander was nominated as Actress in a Leading Role for The Danish Girl and Actress in a Supporting Role for Ex Machina. But in every award she has been nominated as Supporting for The Danish Girl, she has won.

There could be a surprise. If it happened, Winslet would take the award.

Vikander should definitely win. She was amazing not only in The Danish Girl but in Ex Machina. She portrayed a beautifully complex character and made her the link between audience and story. She was vulnerable, strong and fierce.

 ADAPTED SCREENPLAY

Will win: The Big Short

Frontrunner: Room

Should win: The Big Short

Why? Again, easy choice. The Big Short has won the WGA, the BAFTAs, the Critics’ Choice. It didn’t get the Golden Globe, but that’s because Steve Jobs (which isn’t nominated here) won the award then. In a very distant second place could come Room, just because of the strength of its script.

The Big Short also deserves to win. This will probably be its only award of the night. It deserves much more, but it won’t happen. Its script is fresh, interesting and exciting. A rather difficult topic is creatively explained to the audience, entertaining it until economics look fun.

 ORIGINAL SCREENPLAY

Will win: Spotlight

Frontrunner: Inside Out

Should win: Inside Out 

Why? Just like The Big Short, Spotlight won all the awards, except the Golden Globes. It will also be likely its only award if it doesn’t take over Best Picture. It’s a very solid script telling a very important story.

If it didn’t win, Inside Out would take the award. It’s a very creative story told as a heart warming tale of feelings and change. It’s about time an animated film wins and is considered for what is worth. It will probably not happen, but it really should.

 ANIMATED FEATURE FILM

Will win: Inside Out

Frontrunner: Shaun the Sheep Movie

Should win: Inside Out

Why? Inside Out is the most critically acclaimed animated film of the year. Pixar’s other film this year didn’t even make the category, most like eclipsed by its sister. Also, the Annie awards don’t lie.

If it didn’t win (highly unlikely), I’m guessing for Shaun the Sheep Movie. Anomalisa doesn’t stand a chance because of its R rating. Unknown foreign movies aren’t usually watched by the voters. So it’s just ruling out, and we are left with Shaun.

Inside Out, as I pointed out in the previous category, has a brilliant script. Its animation is also incredible. The five emotions are carefully designed and beautifully animated. The imagination behind the world created in Riley’s brain should be rewarded.

 CINEMATOGRAPHY

Will win: The Revenant

Frontrunner: Mad Max: Fury Road

Should win: The Revenant

Why? It’s difficult to believe someone could achieve a third in a row award. But all odds point to Emmanuel Lubezki achieving this tonight. Winner in 2014 for Gravity and 2015 for Birdman, he has been awarded the Critics’ Choice Award, the BAFTA and also the American Society of Cinematographers Award.

Mad Max: Fury Road also has amazing cinematography that could have won if not for Lubezki. It’s incredibly creative, colourful and dynamic.

Although I love Mad Max and it’s almost a tie, The Revenant’s cinematography blew my mind, so I have to say it is the most deserving.

 FILM EDITING

Will win: Mad Max: Fury Road

Frontrunner: The Big Short

Should win: Mad Max: Fury Road 

Why? It’s as difficult to predict in this category as it is to choose a favourite. I think Mad Max will win for its Critics’ Choice Award and BAFTA. It also will win to make up for bigger categories.

The Big Short is a strong contender. It is original and its editing is the best part of the movie. It’s fun, it has rhythm. Both movies deserve to win. I prefer Mad Max because I attribute The Big Short’s genius editing to its script, while editing the continuous car chase of Mad Max is genius editing.

 PRODUCTION DESIGN

Will win: Mad Max: Fury Road

Frontrunner: The Martian

Should win: Mad Max: Fury Road

Why? I think we can all agree Mad Max: Fury Road will probably win most artistic/technical categories for its amazing aesthetics and rhythm. This is no exception. It already won the Critics’ Choice, the BAFTA and the Art Directors Guild, so this should go smoothly.

If it didn’t win, some experts point to The Martian. Both The Martian and The Revenant won at their own categories at the ADG, so there is always a distant chance.

However, Mad Max should definitely win. Look at the cars, the landscapes, the whole aesthetics is stunning. The colours, the inside of the truck. You can’t do better than that.

 COSTUME DESIGN

Will win: Mad Max: Fury Road

Frontrunner: Carol

Should win: Mad Max: Fury Road

Why? This was a very tough category. Any expert will tell you: never bet against Sandy Powell. Guess what I did? Just that. Until the last few days, most experts went either to Cinderella or to Carol; Sandy Powell is nominated for both. While most people were distracted deciding which one would win, Mad Max: Fury Road won the BAFTA. Later, at the Costume Design Guild, Cinderella was beaten by Mad Max in the fantasy category, while The Danish Girl won over Carol in the period category. Now, there is a lot of doubt.

I ultimately went for Mad Max just based on awards. Could Sandy Powell win? Maybe, but I prefer to bet on something tangible. And having lost in both categories at the CDG, Powell has it tough.

If Mad Max doesn’t win, Powell would get the award. She has got 2 out of 5 odds of winning, it would be weird if neither placed second. Ignoring The Danish Girl winning over Carol, I’d think the latter would win based on number of nominations and critical acclaim.

I won’t repeat myself about why Mad Max should win. Original, creative, it’s all in the last few categories.

 MAKE UP AND HAIRSTYLING

Will win: Mad Max: Fury Road

Frontrunner: The Revenant

Should win: Mad Max: Fury Road

Why? As I said, artistic categories will be won by Mad Max. It already won the Critics’ Choice Award and the BAFTA. If it doesn’t win, I guess The Revenant, with DiCaprio’s breath taking injuries, should snatch the award.

 VISUAL EFFECTS

Will win: Star Wars: The Force Awakens

Frontrunner: Mad Max: Fury Road

Should win: Mad Max: Fury Road

Why? Star Wars won the BAFTA and the Visual Effects Society Award. It will also be a nod to a franchise that many love and that has just come back. Its effects are mostly practical, little CGI, and that is something appreciated.

Mad Max won the Critics’ Choice, and could still win. Why should it? It’s almost all practical effects, and it’s incredible. Enough said.

 ORIGINAL SCORE

Will win: The Hateful Eight

Frontrunner: Bridge of Spies

Should win: Star Wars: The Force Awakens

Why? Who wouldn’t vote for Ennio Morricone? It isn’t even a fair fight. Also, he won the Golden Globe, Critics’ Choice and BAFTA. It’s an obvious choice.

Having to choose a frontrunner, I would say Bridge of Spies. Composer Thomas Newman has 13 nominations and no awards. The score is beautiful, and it would be about time.

Honestly, I must be biased, but I think John Williams deserves a nod with Star Wars. It’s beautiful and it is the return of a franchise beloved by many, and its score is as famous as its story.

 ORIGINAL SONG

Will win: Til It Happens To You – The Hunting Ground

Frontrunner: Writing’s On The Wall – Spectre

Should win: Writing’s On The Wall – Spectre

Why? This is a close race. It’s almost a 50/50 chance. I consider Til It Happens To You will win, even though Writing’s On The Wall won the Golden Globe, because the former wasn’t even nominated and it talks about a very human topic. There have also been better Bond songs.

 SOUND EDITING & SOUND MIXING

Will win: The Revenant

Frontrunner: Mad Max: Fury Road

Should win: -

Why? The Revenant won at the BAFTAs and the Cinema Audio Society. So I think it has a biggest chance here. Also, both awards mostly go to the same film; when this doesn’t happen, it’s usually because Sound Mixing goes to a musical (really, check it out, it has happened several times over the last two decades: Whiplash, Chicago, Les Miserables…). There’s no musical, so this is the safest bet. If it’s not The Revenant, the big action film will take it: Mad Max. If it went divided, Mad Max would take Mixing, I think.

I won’t wonder who should win because I honestly have little idea about how to really know whose sound editing and mixing is the best. You can appreciate sound editing and mixing, but when both movies are great, it is difficult to choose. It is much easier to detect a badly edited or mixed movie.

 FOREIGN LANGUAGE FILM

Will win: Son of Saul

Frontrunner: -

Should win: -

Why? There is no doubt Son of Saul will win. Heavily awarded and critically acclaimed, it is a sure bet. I haven’t watched any of the nominees, so I won’t consider a frontrunner for a favourite.

 DOCUMENTARY FEATURE

Will win: Amy

Frontrunner: What Happened, Miss Simone?

Should win: - 

Why? Amy has been critically acclaimed. It won the Critics’ Choice Award and it is about the tragic story of a genius musician dead too son. It seems logical.

I confess I haven’t watched any documentary, so I won’t comment any further.

 DOCUMENTARY SHORT SUBJECT

Will win: Body Team 12

Frontrunner: -

Should win: - 

Why? Ebola is a very sensitive but important topic, and a movie about such an important matter, around which news revolved for months this past few years, will probably be rewarded. I haven’t had the chance to watch any of them, but maybe frontrunners could be Claude Lanzmann: Spectres of the Shoah or A Girl on the River: The Price of Forgiveness.

 ANIMATED SHORT FILM

Will win: World of Tomorrow

Frontrunner: Sanjay’s Super Team

Should win: - 

Why? World of Tomorrow won the Annie award. It is a very original and creative short film which easily distinguishes itself from competition. Maybe this originality could turn some people off (although it did the trick for Mr Hublot); if that is the case, Pixar’s Sanjay’s Super Team will win.

I haven’t had the chance to watch them all (impossible to find them online). I liked World of Tomorrow and also watched We Can’t Live Without Cosmos, which was very tender and sweet.

 LIVE ACTION SHORT FILM

Will win: Shok

Frontrunner: Ave Maria

Should win: -

Why? Most difficult category. Based on winnings, nominations and what the story is about, Shok is the most likely to win. Ave Maria is also a favourite of experts. Maybe even Everything Will Be Okay has a chance. I haven’t been able to watch any of them.

 FINAL THOUGHTS

It will be a night in which many movies will receive only one award. Some won’t receive any. It’ll be a ceremony as distributed as it was challenging to predict.

 So, what are your predictions? Last minute thoughts?

 Enjoy the awards. If you want printable ballots: here and here you can find pretty ones. Follow my twitter for live updates and reactions tonight­. Most of all, enjoy!

[cinematicbydigrazia-en]

OSCARS 2016: WILL INARRITU RULE AGAIN?

2015 was a year that delivered many incredible movies. The films nominated to be biggest category of the night are not only brilliant but very different. Whereas last year we were surrounded by biopics, in 2015 we had space adventures, wild car chases, survival stories and true stories. But while these are very different stories, there is one common topic: survival. In The Big Short, those who discover the banks’ wrongdoing have to survive against its pressure, and the whole world must survive a terrible crisis. In Bridge of Spies, Donovan must survive an incredibly difficult situation with both sides against him, while saving his client. In Brooklyn, Eilis is challenged with changing her whole life, and she survives, strongest than ever. In Mad Max: Fury Road, Max, Furiosa and the wives live in a wasteland ruled by a tyrant, and yet they fight for freedom and survival. In The Martian, Mark Watney is left in Mars and does everything he can so he survives until he is rescue. In The Revenant, Hugh Glass survives a terrible attack and lives to get revenge. In Room, Joy and Jack are prisoners, but they are able to survive and fight back. Finally, Spotlight is purely a story about survivors, the survivors of sexual abuse.

It’s a very tight race with many incredible possibilities, and not even the biggest experts are sure who will win tonight. And while there are some great movies missing (Straight Outta Compton, Macbeth, Carol), these are all very solid films. For now, let’s take a look at what the Academy considered 2015’s best movies.

 The Big Short

The Big Short is one of the most original movies nominated this year. Frontrunner for Best Picture and Best Editing, it explains a difficult topic with entertaining tools, getting the viewer to enjoy and understand economics he would usually ignore in the newspapers.

The Big Short tells the story of those that knew what was coming before the housing market bubble collapsed and millions of people lost their money, jobs and houses. A genius hedge fund manager, Michael Burry (Christian Bale), investigated the subprime loans and discovered the banks were playing so they could earn more money. Predicting the market would collapse, he decided to bet all his clients’ money against the housing market. Soon, others discovered what he was doing and started to study the phenomenon.

Many people still don’t know why we fell into a terrible economical crisis in 2008. The whole world suffered terrible consequences and we are still recovering. The Big Short tries to explain the origin in the easiest way. How? It uses fun editing, stock pictures and celebrities to explain difficult economics concepts. The Big Short’s concept is original and creative. Instead of a more traditional approach, it uses its script to entertain the viewers while they learn. See, here’s Margot Robbie explaining subprime loans. Much better than just trying to explain it through dialogue, isn’t it?

The Big Short has many strong points. Firstly, its script. As I said, it is original, and it decides to tell the story in a new way. More similar to The Wolf of Wall Street than to any other economical film, it tries to connect with the audience rather than giving them a lecture. The script wouldn’t work without its incredible editing. It’s quick and fast paced, it has rhythm and help the film be entertaining. And finally, it has a fantastic cast. Christian Bale might be the only one nominated, but he’s also a piece in this cast of outstanding actors: Ryan Gosling, Steve Carell, Brad Pitt, Finn Wittrock… The Big Short is the best way to learn about the crisis you will ever find.

 Bridge of Spies

Steven Spielberg is back with yet another historical drama. This time, though, it’s a thriller. It also couldn’t be more different from his last film as a director: Lincoln. While aesthetically beautiful and historically accurate, Lincoln was one of Spielberg’s less loved movies for its slow pace and long dialogues. Bridge of Spies is exciting, fast paced and thrilling.

In 1957, Rudolf Abel (Mark Rylance) is accused of being a Russian spy and arrested by the FBI. American attorney James B. Donovan (Tom Hanks) is assigned to defend him against a court that won’t even think about considering him innocent. But it’s the Cold War, and the exchange of prisoners is a possibility. Donovan is able to save Abel from death, but is met with terrible backlash and treated with disdain by the American citizens. When the opportunity for an exchange appears, Donovan is assigned to negotiate in Germany, putting his own life at stake.

This is a very interesting true story about a hero. Although not really well known, James B. Donovan was an American Hero who also helped in the release of 1,113 prisoners held by Cuba years after helping Abel. I think it is important his name is known, as he is a true hero in American history who didn’t use violence (unlike the Chris Kyle, main character of last year’s American Sniper).

The whole film is beautiful. The production design brings us back to War Horse or Lincoln, as Spielberg is always careful with his artistic direction. The actors are a delight, and one might suggest Tom Hanks deserved a nod for his performance. Mark Rylance gives the best performance of the year. The score is beautiful and the Spielberg excels, as he always does, at directing this carefully put together ensemble.

Although it has 6 nominations, I think this movie has been terribly underrated. No one predicts it will win anything, and it is a shame. It’s a beautiful piece, made with love and care. It’s an instant Spielberg classic many will learn to appreciate in the future.

 Brooklyn

Small beautiful Brooklyn is just happy to be nominated. Who would have thought such a little mentioned film would make it to Best Picture? I, for one, am delighted it made it this far. There is not a chance it will win, but at least it is recognised as one of the best.

Brooklyn is the story of young Eilis Lacey (Saoirse Ronan), an Irish girl who moves to the US looking for a better future. Eilis doesn’t want to go to America, she loves Ireland and her family, but her sister Rose insists: she has found her a job and somewhere to live. And so, Eilis starts her adventure. Life in Brooklyn isn’t easy at first: she is homesick, her roommates are mean and she is lonely; she is just going through the motions. Until, one day, Eilis meets Tony (Emory Cohen). And suddenly, she starts being happy again. But when circumstances make her go back to Ireland for a couple weeks, her heart will be torn between her homeland and family and her new life with Tony. And it will be the most difficult decision of her life.

Brooklyn is a love story, but most of all it’s a coming of age story. Anyone who has had to move away from their family and hometown will identify with Eilis’ story. Building a life from scratch isn’t easy. But Eilis will also warm your heart, because she is brave and determined, and you will love discovering Brooklyn with her. 

This film can only be described as beautiful. Its cinematography is outstanding, and the costume design is incredible. Every single shot is worth enjoying. The plot is simple but sweet, a typical love story that isn’t so much about the men but the life Eilis is choosing to leave behind. Finally, great performances by Saoirse Ronan, Domhnall Gleeson and Emory Cohen make this a fantastic movie.

Fun fact: a tv show is being developed based on Mrs. Keogh’s boarding house for English and Irish girls. It will be on BBC, so it’s worth a try.

 Mad Max: Fury Road

There is only one way to describe Mad Max: Fury Road: revolutionary. There is little to criticise about George Miller’s masterpiece, that surprised everyone with ten nominations in Hollywood’s biggest night.

Following a nuclear holocaust, the world is now a desert wasteland and civilization has collapsed. Max Rockatansky is a survivor, and he travels through the world until he is captured by the War Boys, the army lead by tyrant Immortan Joe. There, Imperator Furiosa, one of Joe’s lieutenants, helps Joe’s five wives escape from him in an armored semi-truck. Max and Furiosa’s destinies are tied by the escape, and they become cautious allies while escaping from Joe and his army.

This is an action movie, but it isn’t any action movie. It’s a story about freedom, rebellion and women. Max may look like the lead, but the plot focuses on Furiosa and the wives, strong independent women who escape their captor without a man helping them and run towards freedom. Many have considered this movie a feminist icon, and I agree. This is how you make a feminist movie without stereotypes and exaggerations.

What can be said about this movie? Firstly, its plot. There might not be much of a dialogue, as many point out, but that doesn’t mean it doesn’t have a plot. It is outstanding how George Miller tells the whole story through actions and subtext rather than dialogue. What many consider simplicity, is actual genius writing and editing. And the editing, wow. This is a two-hour car chase, and it never falters. Editor Margaret Sixel (Miller’s wife) incredibly keeps the fast pace during the whole movie, never losing the rhythm or the emotion.

Aesthetically, this is one of the most pleasing films in the last decade. It is colourful, original and beautiful. You just have to looks at the landscapes, the explosions, the cars. It is a genius composition that creates a whole universe around the car chase. And we can’t forget the visual effects. They are mostly practical effects, and they are amazing. Checking out a behind the scenes video is worth your while to truly appreciate this film. 

The characters are complex are incredible. Performances by both Tom Hardy and Charlize Theron are outstanding and unfairly forgotten by the Academy. This is an instant classic, both for its story and its aesthetics.

 The Martian

Based on Andy Weir’s homonymous novel, The Martian tells the story of astronaut Mark Watney (Matt Damon). When a dust storm forces his team to return to their ship and abandon Mars, Watney is struck by debris and left behind. When he wakes up, he is alone and no one knows he is alive. Against all odds, Watney must survive with what he has, alone in the planet, and try to contact NASA so he can go back home.

This is Matt Damon’s one man show. He spends most of the movie alone, talking to either a camera or himself. It is very difficult for an actor to carry a film by himself without the audience getting bored. This is proof of Damon’s incredible talent and experience. It also is the reason he is nominated for Best Actor. But we can’t forget the rest of the cast. It’s a star studded cast, featuring Jessica Chastain, Chiwetel Ejiofor, Sean Bean, Sebastian Stan and Kate Mara.

The Martian is a story about survival and hope. Watney knows there are not many chances he will return to Earth. He doesn’t have much food, he is totally alone, and the next mission won’t arrive in four years. Many would give up, but Watney doesn’t. The feeling of hope and perseverance is inspiring and very well conveyed by the great script.

Directing shouldn’t be forgotten. Unfairly snubbed by the Academy, Ridley Scott directs this space odyssey of a lonely man finding his way home. He makes it exciting, he makes it sweet, he makes it funny. It’s a beautiful and tragic story that leaves a smile in your lips and hope in your heart. 

Finally, the cinematography is incredible. Both production design and cinematography excel, and Mars’ red landscapes are breath-taking and worth a second look.

 The Revenant

Iñárritu is back and he wants to win. After winning both Best Picture and Best Director last year for Birdman, Iñárritu hasn’t wasted a minute getting ready for this year’s Oscars. Many consider The Revenant even more impressive than Birdman, which is an achievement itself. Can Iñárritu become the big director of the 2010s. 

The Revenant tells the story of trapper and guide Hugh Glass (Leonardo DiCaprio). While travelling through the Northern Plains and getting away from the Arikara Native Americans, Glass is attacked by a grizzly bear. He manages to kill the bear, but is left on the brick of dying. His party try to transport him back to camp, but it is impossible to move up the mountain with his stretcher. Captain Andrew Henry (Domhnall Gleeson) decides to leave him behind with some volunteers, so he doesn’t die alone and is buried properly. But John Fitzgerald (Tom Hardy), who doesn’t like Glass nor his son, gets bored of waiting and lies to Bridger, the other volunteer, so they abandon Glass while he is still alive. He thinks Glass will die, but he doesn’t. And so, Glass sets in a tortuous trip of revenge, slowly crawling back through the snow so he can kill Fitzgerald. 

The interesting thing about this movie is that it is also a survival story, but it couldn’t be more different from The Martian. While The Martian is about hope, The Revenant is about revenge. Glass doesn’t care if he lives afterwards, he only wants to kill Fitzgerald and make him pay. It’s a very different perspective.

Where to start while talking about this film? The cast is incredibly talented. Leonardo DiCaprio delivers one of his best performances yet; Tom Hardy and Domhnall Gleeson are outstanding. There is also credit due to Alejandro G. Iñárritu, the director. He is an excellent director, both for acting as for the technical aspects. He has managed to make the perfect Oscars movie.

Aesthetically, the film is amazing. The cinematography is outstanding, capturing the audience’s attention at every shot. The editing is spectacular, even compared to Birdman’s. The story is perfectly paced, and it doesn’t even have a minute too many.

Iñárritu’s film is a masterpiece. Again. He seems to have found the formula for the perfect Oscars movie, and he is not letting it go.

 Room

Room is the most human story out of the eight nominees. Also, it’s the most haunting. It’s difficult to talk about kidnapping and abuse and not getting extremely depressing. It’s even more difficult to cast an optimist light over such a difficult topic, making it a story of survival rather than a victim’s tale.

Joy Newsome (Brie Larson) was kidnapped when she was just 17. Seven years later, she still lives in a shed in her captor’s backyard. She hasn’t been left out, and she has been severely abused and given birth to a son, Jack (Jacob Tremblay), who is now 5. Surviving with the little help of her kidnapper, she has to make the shed (which they call Room) a home for Jack, where he can grow up and be the closest thing to a normal boy he can be. Everything changes when she develops a plan and they finally break free. But coming back home isn’t as easy and pleasant as she expected.

This is an extremely difficult story to tell while retaining hope and optimism. What happens to Joy is horrible, and trying to tell this story could have gone terribly wrong. Both screenwriter and director had to be careful and treat the plot with kindness and tact. They were able to do it, and the story they tell is heart-breaking but full of hope and truth.

The most incredible thing about this film, other than the story, is the acting. Brie Larson and Jacob Tremblay, both newcomers, are the best thing about the movie. They portray complex, traumatised characters faithfully. In Room, Larson’s Joy tries to stay happy and positive for Jack. Outside, it’s as difficult to cope with what happened to her while in Room as it is to cope with what happened outside while she was gone. Larson shines with her own light, giving one of the best portrayals in the last few years. So many layers of emotion and pain are difficult to handle.

 Spotlight

Once the critics’ favourite, it might have suffered a blow in the last few weeks, but it is still one of the frontrunners. Spotlight is a true story that needed to be told so people across the world now what happened not only in Boston, but in the whole globe. 

Spotlight tells the story of a small group of journalists, the Spotlight team, that investigate the cover-up by the Catholic Church of the sexual abuse of children by priests in Massachusetts. After years of the victims being silenced or paid off, someone finally pays attention to the story and slowly uncover one of the biggest scandals of the XXI century, that turned out to be greater than what happened in Boston. As we are told at the end of the movie, sexual abuse of children by priest has happened in many cities around the world, too many to count.

As I said, this is a story that needed to be told. What I love about the movie, above anything, is the fact that it puts, no pun intended, a difficult but real problem in the spotlight. This is something people must know about, must talk about. There has to be a reaction, so it never happens again.

Spotlight has a great script that tells the sensitive story with tact and care. It is almost a documentary, not going into the group’s personal lives but focusing on the victims and their stories. The story, though, wouldn’t be anything without the amazing cast behind it: Mark Ruffalo, Rachel McAdams, Michael Keaton and Live Schreiber do an amazing job in the film. They are only supporting characters to the story, but they support it perfectly.

One thing I have to criticise about the film. While it is perfect in every single way, it is also too traditional. I get what is important is telling the story, and storytelling like The Big Short’s isn’t appropriate, but this film could have been made in the 70s without many differences. At times, I wondered why this was a movie. There’s excellent writing and acting, but I could have read an article on in in a quarter the time. I missed something that made the movie special. Because the story itself is important, but the movie is a step behind.

 Who will win?

I’ll analyse this more thoroughly in my final predictions, but the thing is between The Revenant, Spotlight and The Big Short. I personally think The Revenant will win.

Who should win?

I would love if Mad Max: Fury Road won, but it is almost impossible. For me, it’s one of the best movies I’ve ever watched. But it is hardly an Academy ideal film.

 In a few hours, final predictions! Get ready!

[cinematicbydigrazia-en]

OSCARS 2016: BLANCHETT, LARSON, LAWRENCE, RAMPLING & RONAN

And here we are with the last acting category! Two first times nominees (Larson, Rampling) will compete with two-time young nominee Saoirse Ronan, two-time winner (and 6 times nominee) Cate Blanchett, and Hollywood’s favourite, one-time winner and 4 times nominee Jennifer Lawrence.

 Cate Blanchett: Carol

Cate Blanchett is one of those rare actors who have once been twice nominated in the same year at the Oscars. It happened in 2008, when Blanchett was nominated as Best Actress for Elizabeth: The Golden Age and as Best Supporting Actress for I’m Not There. She might have not won, but it was another step to make the two-time winner a legend.

 In Carol, Blanchett plays the title character, Carol Aird, a woman living a loveless marriage she can’t escape. But this story isn’t about a marriage, it isn’t about her husband (played by Kyle Chandler). It’s about Carol’s love story with Therese Belivet (played by nominee Rooney Mara) and Carol’s struggles against society to be with the person she loves without losing her daughter.

Carol is a mysterious, elegant woman, full of life and glamour. She’s homosexual, but society and, most of all, her husband make her struggle finding love. She fully embraces her sexuality, but her husband even threatens her so she remains by her side. Carol is incredibly brave, but she’s also incapable of hurting her daughter Rindy.

 Blanchett shines once again portraying a very human and vulnerable character. Carol looks invencible from outside, but she is also afraid and hurting. She does whatever is best for her daughter, even if it’s bad for her. One of her strongest performances is delivered at the end of the movie, when she faces her husband with their lawyers. In a single scene, Blanchett shows the world why she’s one of the best actresses in Hollywood.

 Brie Larson: Room

Newcomer Brie Larson was very much unknown until she landed the role of her life in Room. Perhaps you remember her from Scott Pilgrim vs. the World (2010), 21 Jump Street (2012) or The Spectacular Now (2013). If you don’t, you’ll surely remember her after you watch Room.

In Room, the 26-year-old Larson plays a woman who has been kidnapped for seven years in a small shed in her captor’s backyard. She has a son, Jack, a five-year-old born in the shed who doesn’t know the outside world. The woman, named Joy, tries to make the world of Room (that what they call the shed) the best place possible for Jack. But when the opportunity to escape arises, she doesn’t doubt for a moment she must try for the sake of her son.

Portraying Joy must have been extremely tough. Joy has been confined in Room for seven years, since she was still a teenager. She has been abused and hurt, she has delivered a child and she has had to raise him in a miniscule space. Still, she remains positive and happy for her son. But we also see the face Jack doesn’t understand, a woman desperate, depressed and malnourished fighting to stay alive. And once they are out, it’s even more difficult for Joy to cope with everything that happened to her, and everything that happened outside while she was gone.

Larson gives an incredible performance, very real and haunting. She is amazing as both a survivor and a victim, as a fighting mom and a defeated daughter. In Room, we see a star being born, as Larson embraces a very complex character and exceeds expectations with a tender interpretation of Joy’s pain.

 Jennifer Lawrence: Joy

I shouldn’t need to introduce Jennifer Lawrence, as the 25-year-old is the most famous young star in Hollywood. Known for both commercial and award winning performances, Lawrence already won an Oscar in 2013 for Silver Linings Playbook. Also nominated for American Hustle (2014) and Winter’s Bone (2010), you also might have seen her as the lead in the The Hunger Games franchise (2012-2015) or as Mystique in the revamped X-Men franchise (2011-2016).

Collaborating once again with director David O. Russell, Lawrence plays the title character in Joy. Joy Mangano, who shares a name with the lead character of also nominated Room, is a woman whose life has been tough, but that hasn’t ever made her give up. Joy’s story goes from her childhood, full of dreams and projects, to her brilliant adulthood, but centres in her struggling years as a mother having to support her children, her ex-husband, her mother and her grandmother, all living in the same house.

Joy is very intelligent and creative, but the weight of life keeps pulling her down. Once a dreamer who wanted to become an inventor, she now struggles to make a living working for Eastern Airlines. Her family life is crazy, and even her ex-husband depends on her, as he is unemployed and lives in her basement. Joy seems to have given up on her dreams, until she is struck by inspiration and goes for it. She faces defeats, difficulties and betrayal, but she never gives up.

Once again, Lawrence is magnificent under Russell’s direction. She makes Joy fierce, with a constant sparkle of rebelliousness and intelligence always in her eyes. She portrays the character easily, giving life to yet another strong independent woman fighting against all odds. In a very underrated movie, Lawrence shines as she always does.

 Charlotte Rampling: 45 Years

She might be the veteran in the category, but this is the first nomination for Charlotte Rampling. Rampling started working in the industry in the 1960s, and appeared in several French and Italian films during the 60s and 70s. She is also the recipient of an Honorary César (2001), France´s Legion of Honour (2002) and the Lifetime Achievement Award from the European Film Awards (2015).

In 45 Years, Rampling plays Kate Mercer, a retiree planning to celebrate her 45th anniversary with her husband, Geoff. But everything she thought true changes when Geoff receives a letter notifying him of the discovery of an old lover’s body who fell into a crevasse 50 years ago. Talking to Geoff about the woman, Katya, she discovers what life could have been like if Katya hadn’t died, and how her memory has been circling them for their whole marriage.

This is the story of a woman discovering a new side of her life. How something she takes for granted could have not happened, because her husband was prepared to marry another woman had she not died. How some vital decisions in her life were made based on Geoff’s grief for Katya. They never had kids, they don’t have pictures of them together…

Rampling plays a woman in a journey, realising more about her husband than she had known in 45 years. She’ll never look at her husband the same way, nor at their marriage and their past. Rampling is amazing at her portrayal of Kate, but the story is one that doesn’t let her shine as brightly as she could.

 Saoirse Ronan: Brooklyn

Saoirse Ronan is the youngest nominee this year. She is just 21, and this is her second nomination already. She was previously nominated 8 years, when she was just 13, for her supporting role in Atonement. We’ve since enjoyed her performances in movies like Hanna (2011), The Grand Budapest Hotel (2014) and How I Live Now (2013).

In Brooklyn, she plays young and shy Eilis Lacey, an Irish girl whose sister convinces her to move to the US to find a better future. Once in America, Eilis is full of homesickness and sadness, and mechanically goes to work, university and parties. That is, until she meets Tony. But when circumstances force her to return to Ireland for a few weeks, her heart is torn between staying home or going back to her new life.

Brooklyn is a sweet and lovely coming of age story about a vulnerable but brave girl who is trying to make a living across the world from all she knows. Ronan is great presenting Eilis’ vulnerability and sadness, and also her happiness once she gets to love Brooklyn. Her performance tugs at the heartstrings of the audience, many of them being able to identify with the first experience away from home, and the loneliness one feels when trying to build a new life from scratch.

On a personal note, I recommend this movie to everyone. It’s a very sweet, very beautiful movie and I think not enough people have heard about it. It’s also interesting seeing how Ronan has grown since Atonement, and following her as one of the most promising stars right now.

 Who should win?

Brie Larson gives the best performance out of 5 very good performances. She takes a difficult challenge and owns it, and she’s indisputably the brightest star of the night.

 Who will win?

All odds are on Larson, and it’ll be a real shocker if she doesn’t win.

 Don’t forget: tomorrow Best Picture and final predictions!

[cinematicbydigrazia-en]

OSCARS 2016: CRANSTON, DAMON, DICAPRIO, FASSBENDER & REDMAYNE

No one doubts who will win Best Actor in a Leading Role this year. There are memes, there is a great 8-bit game and there’ll likely be riots if Leonardo DiCaprio doesn’t finally win. But although DiCaprio did an amazing job, there are still other four great nominees in this category. While this is DiCaprio’s 6th nomination, it’s the first time for Bryan Cranston, and only second for Michael Fassbender. Last year’s winner Eddie Redmayne gets a second nomination as well. Matt Damon gets a third acting nomination, fourth if you count his winning on screenwriting in 1998.

 Bryan Cranston: Trumbo

Better known for his award winning role in Breaking Bad, Bryan Cranston is one of the most loved actors on television. He has won four Emmys, and has been nominated to 5 more (3 for Malcolm in the Middle). He also has a Golden Globe and 3 SAGs for portraying Walter White. We have also seen him a lot on the big screen, as he has recently appeared on Godzilla (2014), Argo (2012) and Drive (2011).

In Trumbo, Bryan Cranston plays the leading role: screenwriter Dalton Trumbo. Trumbo was one of the best screenwriters in Hollywood ever, but his career was truncated when he was investigated for being a communist. Fear of the Cold War made some of Hollywood and the Congress to fight against American communists, alleging they were working with the Russians against the US Government. Trumbo and other artists ended up jailed and, upon release, blacklisted for their political beliefs, making it almost impossible for them to work.

But Trumbo wasn’t only a communist screenwriter. He was also a husband and father that had to support him family even when he was shunned from the Hollywood industry. He had to work more, without credit, for less money, so his family could live. But disdain didn’t only come from Hollywood and the Congress, most of the American population agreed being a communist meant hating America, and Trumbo was marginalised and bullied.

Cranston is the perfect Dalton Trumbo. Not only does he look the part, but he also plays it faithfully. Trumbo is a complex person. Incredibly clever, also loyal to a fault. He loves his family the most, but he gets so caught up trying to make a living for them he almost forgets about them. Cranston is able to show this range of emotions, making Trumbo relatable and a vehicle meant to denounce the unfairness of the Black List.

 Matt Damon: The Martian

Matt Damon is one of the most known actors in the world. He conquered Hollywood writing and starring Good Will Hunting (1997) and he has been in the spotlight since. Saving Private Ryan (1998), The Talented Mr. Ripley (1999), the Bourne franchise (2002-2016), The Departed (2006) and Invictus (2009) are just some of his most famous films.

In The Martian, Damon’s character, Mark Watney, gets stuck in Mars. After a dust storm forces his crew to evacuate the planet, Watney is struck by debris and gets left behind, stranded in Mars without any way to return to the Earth 

We could consider The Martian a one man show. Although there are plenty of characters (the crew, the NASA workers), Watney spends most of the movie alone, fending dangers off and surviving with only some stuff left behind and his intellect. That’s what I think is most powerful about Damon’s performance. Were there other people, a second person, the performance wouldn’t have been so difficult. But Damon spends most of the movie alone, talking to a camera or to himself, reacting only to inanimate objects and his experiments, never a person around. I really think this is why he’s nominated: it’s not easy to show so many emotions, from joy to grief, to exhaustion and hopelessness, without a person to deliver your lines to.

Wrongly considered a comedy by the Hollywood Foreign Press Association, this is another story about surviving or, most precisely, the will to survive when there’s almost no hope, no chance to make it out alive. And that’s why Damon shines. He is able to show all that could go through a person’s head in that situation, even the joyous moments when something goes well amongst a tragic adventure.

 Leonardo DiCaprio: The Revenant

What can I say about Leonardo DiCaprio that you don’t know? Nominated 6 times to the Oscars, he is considered one of the best actors alive. He’s worked with Scorsese, Iñárritu, Tarantino, Eastwood, Nolan… the finest directors of the XXI century. The whole world is backing him up to finally win an Oscar. And this year might be his lucky year 

In The Revenant, DiCaprio plays Hugh Glass, a trapper and guide that is attacked by a bear and left for dead by his companions. He is forced to fight for survival, crawling through the snow for days, encountering aggressive Native Americans and French hunters, struggling against nature and his own wounds to get his revenge.

Much like The Martian, The Revenant is a one man show about survival. But where The Martian is about hope, The Revenant is about revenge. This is a man who doesn’t care if he survives afterwards, he just wants to kill the man who did him wrong.

DiCaprio is excellent at performing suffering, broken Hugh Glass. With not that much of a dialogue, he gives a strong performance, full of emotion and despair. What makes this role the most challenging is the harsh conditions of the shooting. As DiCaprio himself says: “I can name 30 or 40 sequences that were some of the most difficult things I’ve ever had to do. Whether it’s going in and out of frozen rivers, or sleeping in animal carcasses, or what I ate on set. I was enduring freezing cold and possible hypothermia constantly”.

 Michael Fassbender: Steve Jobs

From Spartan soldier to supervillain, from romantic hero to genius creator. Michael Fassbender has played many different roles in the last few years, and all they had in common was the talent behind it. Michael Fassbender is one of the British actors leading what Hollywood is already calling the second British invasion of American entertainment. Already nominated in 2013 for 12 Years a Slave, Fassbender is here to stay.

In Steve Jobs, Fassbender plays the lead, genius Apple leader Steve Jobs. But contrary to popular belief, this isn’t a movie about Jobs and his company, or Jobs and his successful career, this is most likely a story about love and family, a story about Jobs and his daughter. Although every part centres around a new step in Jobs’ career (whether it’s the Lisa, NeXT or the iMac), it also focuses on a new step in his fragile relationship with Lisa, his daughter. And that is where the true story lies, and where Fassbender brings out the big guns.

Steve Jobs was a very intelligent man, but he was also a very difficult person. As we said yesterday, there was a satirical award given to whoever “stands up to him”. He wasn’t able to really connect with people, to understand their emotions, and he struggled to express his own. This is the Steve Jobs Fassbender captures perfectly. He is able to play the clever genius, the perfectionist creator, but he also portrays the struggling father, denying his emotions even to himself. It’s a moving performance that no one should miss.

 Eddie Redmayne: The Danish Girl

Redmayne might have won last year, but he’s already back in the fight. Last year, he was a newcomer better known for his role on Les Miserables (2012) or My week with Marilyn (2011), and he stole everyone’s heart in The Theory of Everything (2014). This year, he is back with The Danish Girl. Mean but fun fact: he may be nominated to the Oscars for Best Actor in a Leading Role, but this year he is also nominated to the Razzies for Worst Supporting Actor for Jupiter Ascending.

In The Danish Girl, Redmayne plays Lili Elbe. Popular artist Einar Wegener lives a happy and peaceful life with wife Gerda until he realises he identifies as female. The realisation changes his whole life, as he struggles with his identity. He tries to hide it, he seeks help, and finally he embraces who he is. In the early 1920s, he is considered ill and crazy. It is, or should be, a story about being true to oneself and fighting for it.

While Redmayne is an excellent actor, I think both his performance and the script suffer from bad rhythm. The story is fast paced at times, and very slow at others. Lili isn’t properly developed, as Einar doesn’t almost struggle with his identity but swiftly disappears behind Lili. I have talked to others about this, and we all agree, in his time, he would have struggled more accepting his true self, as it would have been unnatural for many and a difficult choice to make under society’s pressure.

Redmayne portrays a great Lili, but I’m afraid his mannerism is a bit too much. Lili is sweet and elegant, but he overdoes it. I also think this is more to do with the directing and less to do with him. Overall, a good performance that could have been better.

 Who should win?

I loved Cranston and Damon, and DiCaprio was outstanding, but I think Michael Fassbender’s performance was the best for me. It was very vulnerable and complex, and I think it was the whole package.

 Who will win?

There’s no doubt Leonardo DiCaprio will win. As I’ve said, everyone’s expecting it and it’s about time. He also deserves it this time. And the role he played was pure Oscar bait, just as Anne Hathaway’s Les Miserables role.

 Tomorrow: Best Actress in a Leading Role!

[cinematicbydigrazia-en]

OSCARS 2016: LEIGH, MARA, MCADAMS, VIKANDER & WINSLET

We have a lot of newcomers in this category. This is the first nomination for Jennifer Jason Leigh, Rachel McAdams and Alicia Vikander. For Rooney Mara, it’s her second. Veteran Kate Winslet makes it her seventh nominations, one of which ended up in the big award in 2009. So let’s take a look at their careers and the roles that brought them to the Oscars!

 Jennifer Jason Leigh: The Hateful Eight

She may be a newcomer at the Oscars, but Jennifer Jason Leigh has years of experience under her belt. This year, you might have heard her voice (that’s right, just her voice) already if you watched Animated Feature Film nominee Anomalisa. You might also remember her from Synecdoche, New York (2008), The Spectacular Now (2013) or her recurring role on Revenge (2012) and Weeds (2009-2012).

In Tarantino’s eight film, Leigh plays the woman everyone is trying to find. Her character, Daisy Domergue, or simply The Prisoner, has been captured by John Ruth “The Hangman” (Kurt Russell) and is being delivered to the justice in Red Rock, where he’ll get ten thousand dollars for her.

Although Daisy is the centre of the plot, she may as well be a succulent prize they’re talking about. She makes some sarcastic comments, she gets beaten up, and she’s mainly talked about. Same could have been done with an object. But while this is my main problem with the movie, a film about men overpowering, capturing, killing, beating and saving women, Leigh plays her role quite well.

Daisy knows more than the audience at all times, that much is obvious for her playful smile and her reckless behaviour. This is a woman who is going to hang and doesn’t worry a bit about it. She is also mean, and enjoys herself playing with her captor and those around him. And, if John Ruth beats her, she doesn’t really care. She has motive and a strong character, and we can see the humanity in her, even if it’s through a thick cover of psychosis.

Leigh is amazing in her role, even though the movie makes her a very supporting role, less important that any of the men. She’s funny, she’s a bit crazy, she’s even scary. She’s probably the best thing in the movie, most of all in that tedious half an hour the director could have cut in the middle of the film.

 Rooney Mara: Carol

Rooney Mara is one of the young three faces in this category. Already honoured by the Oscars in 2012 with a nomination as Best Actress in a Leading Role for The Girl with the Dragon Tattoo (2011), Rooney Mara is back at the awards race proving herself worthy again. It might have been a tough year for her after facing criticism for Pan (2015), in which she played a character meant to be Native American and both the movie and her were harshly criticised for whitewashing potential POC characters; but Mara has also played one of her best roles yet in Carol.

In this period piece, Mara plays sweet and naïve Therese Belivet, a girl living a confusing moment in her life after she meets Carol (Cate Blanchett). Therese is a shopgirl, but wants to be a photographer. Therese has a boyfriend, but she feels irremediably attracted to a mysterious older woman that drops by the department store where she works. Thanks to Carol, Therese takes a chance and discovers she likes women over men. But that will change her life, and Carol’s, forever.

The film, based on Patricia Highsmith’s novel The Price of Salt, portrays Therese as a kind and shy young woman, who isn’t quite sure about who she really is yet. She is drawn by Carol’s mysterious ways and the distant promise of a truer life. But Therese is naïve and doesn’t really know how tough life can be. She must endure, for the first time, the suffering and hurt of forbidden love.

Rooney Mara is a delight to watch, there is no other way to say it. Therese could not be more different from The Girl with the Dragon Tattoo’s Lisbeth Salander, yet Mara slips into both roles easily and plays them perfectly. Her Therese is vulnerable, sweet and, most of all, selfless. And although her naïveté and candidness is sometimes even annoying, you can’t believe the girl behind Therese could be the same as the one behind Lisbeth.

 Rachel McAdams: Spotlight

You may remember Rachel McAdams from romcoms or comedies like The Notebook (2004), Mean Girls (2004) or The Vow (2012), but the girl who once was only Channing Tatum’s, Ryan Gosling’s or Robert Downey Jr.’s leading woman, has been making a name for herself for years now. In 2011, she starred in Midnight in Paris, she then was in Terrence Malick’s To the Wonder (2012) and you might have caught her on the latest season of True Detective.

McAdams plays Sacha Pfeiffer, a reporter at The Boston Globe, part of the Spotlight team, who investigates the cover up of sexual abuse of children by Catholic priests in Massachusetts. Sacha is intelligent and dedicated, sensitive and sensible. She’s the most human out of the team.

Personally, McAdams was my favourite in the movie. Her character was the most relatable, and the kindest. McAdams easily played Sacha’s toughest moments, portraying the reporter perfectly. Scenes featuring her were probably the best. For example, her scene interviewing a victim was the most powerful in the whole movie.

McAdams seems to be only starting, although she has many great films under her belt. But there’s a lot of potential in her, and I think she might do even better in a few years, in a film where she can truly shine without a cast so crowded.

 Alicia Vikander: The Danish Girl

Alicia Vikander might the the freshest face in the race, but she’s also the brightest. You surely didn’t know her name in 2011, when she was making movies in her native Sweden, but she has quickly made a name for herself in Hollywood. After playing sweet Kitty in Anna Karenina (2012), she hasn’t stopped working. Last year, we were able to watch her on Ex Machina, The Man from U.N.C.L.E., The Danish Girl and Burnt. And this is only the beginning.

Before analysing her role in The Danish Girl, we have to talk about the unfair snub she suffered. Vikander played two incredible roles this year, and she deserved a nomination for both. On The Danish Girl, she’s clearly the main character besides Eddie Redmayne, and the whole movie is focused on her. Why wasn’t she nominated as Best Actress in a Leading Role? Because the producers decided she had a better chance at winning in Supporting Role. But, thanks to this, she was snubbed of her deserved nomination for Best Actress in a Supporting Role for Ex Machina, where she plays robot Ava. As the Academy doesn’t allow a person to be nominated twice in the same acting category, she only got one of two nominations.

In The Danish Girl, Vikander plays Gerda Wegener, the wife to Eddie Redmayne’s Einar Wegener. She’s a painter, as her husband, and they both live happily in Copenhagen until Einar realises he identifies as a female, and begins dressing as a woman and consulting doctors about her “condition”, ultimately becoming Lili Elbe.

Gerda Wegener is a loving wife that supports her husband through the whole ordeal, sometimes unsure, sometimes hurt, but always helpful. She’s lively and bright, talented and not really recognised. Everything changes when she starts painting Lili and her portraits start being famous.

Vikander gives one of the strongest portrayals this year. Gerda is going through a very complex ordeal, and she has many moments of grief, doubts and suffering. Vikander is able to play Gerda faithfully (at least, to the book and script), giving her strength and a fierce spirit. She’s very convincing, and the audience is helplessly moved by her, as most of the story is focused in her point of view.

 Kate Winslet: Steve Jobs

There’s no need to introduce Kate Winslet, as we all know who she is. A rising star in 1995’s Sense and Sensibility and 1997’s Titanic, we have watched her grow through iconic movies like Eternal Sunshine of the Spotless Mind (2004), The Reader (2008), Revolutionary Road (2008) and now Steve Jobs (2015).

In Steve Jobs, Kate Winslet plays Joanna Hoffman, marketing executive for Apple but, most importantly, Steve Jobs’ confidant through the toughest times in his life. Joanna was one of the few people able to get through to Steve Jobs, a man very difficult in his social life. She even won a satirical award at Apple given to “the person who did the best job standing up to Jobs” twice.

Hoffman is the humanity in Steve Jobs. She is amazing at her job, but she is even better making Jobs realise how he is handling his private life, his daughter, his friends. In which ultimately is a film about Jobs and her daughter rather than about his career, Hoffman is the one to show us the man behind the brain.

Winslet is the connection to the film’s humanity, and what a role she plays. Winslet is always capable of vulnerability, sweetness and feeling, but in this film she’s both firm and kind, caring and tough, just when Jobs needs it.

 Who should win?

In any other year, this would have been a tough call between Rooney Mara and Kate Winslet, both amazing in their roles, but Alicia Vikander just wins. She should have been nominated to Best Actress in a Leading Role, but here her performance is a big fish in a small pond. She was flawless, and there’s no denying it.

 Who will win?

It will be surprising, even shocking, in Vikander doesn’t win. She might have lost at the Golden Globes and the BAFTAs, but we need to consider this: in these awards, she was nominated to Best Actress in a Leading Role for The Danish Girl, and she had nothing to do against Brie Larson there. In Best Actress in a Supporting Role, she was nominated for Ex Machina, a small (although great) role that had nothing against Kate Winslet. But in the Oscars, just as the SAG and the Critics’ Choice, she will undoubtedly win.

 Next, Best Actor in a Leading Role!

[cinematicbydigrazia-en]

OSCARS 2016: BALE, HARDY, RUFFALO, RYLANCE & STALLONE

Five very different actors are nominated for Best Actor in a Supporting Role this year. From rising star Tom Hardy to legend Sylvester Stallone, these five men have proved themselves on the big screen this year. We have two first time nominees (Hardy and Rylance), an Oscar winner (Bale) and a second year in a row nominee (Ruffalo) in this year’s Oscars race.

 Christian Bale: The Big Short

Oscar winner Christian Bale is a regular of the Oscars already. Nominated three times in the last 5 years (and winning one time), he’s one of the most well known faces in Hollywood nowadays. Although he starred in the very much criticised Exodus: Gods and Kings (2014) last year, he’s considered one of the best actors of his generation thanks to roles like the one he played in this year’s The Big Short. 

In The Big Short, Bale plays Michael Burry, a former neurologist that currently works in a hedge fund and is the first to discover the household bubble that provoked the financial crisis we are still suffering nowadays. Burry is a very intelligent but antisocial guy, not really understood by his co-workers or clients, who find him plainly weird and sometimes crazy. 

Bale does a magnificent job playing Burry, a difficult character both for his personality and for his health problems. The real Burry has Asperger syndrome and an artificial eye, characteristics than make him a very unique character. How did Bale manage to play Burry as faithfully as possible? He was, unsurprisingly, great. He managed to make one of his eyes look glass by forcing it to be lazy. He imitated all of Burry’s habits (not wearing shoes, wearing the same clothes for days) and he learned to play the drums.

Christian Bale proved once again he’s a very versatile actor, who can go from introverted Michael Burry to sarcastic con artist Irving Rosenfeld (American Hustle, 2013). It may be one of Bale’s best roles yet, with a convincing, solid performance.

 Tom Hardy: The Revenant

Although most of us will remember Tom Hardy in 2015 because of his great job on Mad Max: Fury Road (2015), and some even think he should have been nominated for bringing Max back to life, the Academy decided to nominate him for The Revenant. He’s been in Hollywood for a while and he’s been in some memorable movies, but it seems lately we’re hearing more and more about Tom Hardy. Personally, I think he’s one of the best actors out there, and we’ll be seeing a lot more of him in the next few years.

 Hardy has received his first Oscar nomination for playing John Fitzgerald, the antagonist to Leonardo DiCaprio’s main character. John Fitzgerald, as we gather already in the trailer, is a bad guy, capital B. He is a trapper that works with DiCaprio’s Hugh Glass when Glass is attacked by a bear and badly injured. He’s also the one who decides to leave him for dead, even though he gets paid to remain by his side until he dies so he’s properly buried.

Tom Hardy is used to play morally ambiguous characters. We have already seen him on The Drop (2014) or Mad Max: Fury Road, movies where his characters aren’t either good or bad, just trying to survive. We have seen him play a supervillain in The Dark Knight Rises (2012), and a spy in the silly but funny romcom This Means War (2012). Fitzgerald is also a man trying to survive, but he is consumed by greed. He doesn’t have an ounce of kindness in his heart. And Hardy nails the performance.

We can’t forget the difficult conditions the cast and crew had to deal with while filming the movie. Although DiCaprio took the worst of it (really, see our analysis in a couple days), the cast had to work under precarious weather conditions and freezing temperatures. Nevertheless, Hardy plays a despicable Fitzgerald, and you can’t see a bit of Hardy’s usual charming nature through the character.

 Mark Ruffalo: Spotlight

Nominated for the second year in a row, this is Mark Ruffalo’s third nomination overall (and all of them, as an actor in a supporting role). Although maybe better known because of his more commercial films (he plays Hulk in the MCU), Ruffalo is a very appreciated actor that has been in many indie and cult movies: Foxcatcher (2014), The Normal Heart (2014), The Kids Are All Right (2010), etc.

In Spotlight, Ruffalo plays Michael Rezendes, a reporter for The Boston Globe that fiercely investigates the cover-up of sexual abuse in the Roman Catholic Church (for which he and his team won a Pulitzer). Rezendes and Sacha Pfeiffer (played by Rachel McAdams) were, in my opinion, the most important journalists in the investigation as portrayed by the movie. Although Robby (Michael Keaton) was technically the main character (which is saying a lot, because this is actually an ensemble movie), I think the real plot (the investigation) was mostly driven by Ruffalo and McAdams.

As always, Ruffalo is great in the movie. He gives a great performance among a cast of great actors, which maybe makes him a little less outstanding to the viewer’s eye. In a movie so full of acclaimed performers, you couldn’t really appreciate each performance over another, but rather how they worked as a whole. Even though Ruffalo was great in the movie, he didn´t have a performance as strong as, for example, he did in Foxcatcher last year.

On a personal note, I find Spotlight lacked any innovation. It was a fine film, with great acting and a good script, however it wasn’t anything new. I love journalism movies, but this was just one more movie, nothing outstanding about it other than the real story it was based on. I’ll go more into this in the Best Picture post. What I’m trying to say is I think the movie, its characteristics, etc., didn’t let Ruffalo shine as much as he could have.

 Mark Rylance: Bridge of Spies

This might be his first Academy Awards nomination, but Mark Rylance is a veteran in acting. Rylance has been a regular in both cinema and theatre. He was also the first artistic director of Shakespeare’s Globe in London and a recipient of an Olivier Award, three Tonys and two BAFTAs, having been nominated also to the Emmys, Golden Globes and SAGs this year for his performance in Wolf Hall (2015).

In the terribly underrated Bridge of Spies, Rylance plays Rudolf Abel, a Russian spy captured in the US and faced with a trial that could mean his death. Abel is James B. Donovan’s (Tom Hanks) client, and he becomes the most hated man in America because of his “crimes against the country”. Rylance gives probably the most brilliant performance out of the five in this category by portraying Abel. The character is relatable, warm and charming, even in his difficult situation. He’s positive in his resignation, and he has accepted his destiny bravely.

The complex character is perfectly portrayed by Rylance, who gives Abel life and warmth. You can’t help worry for the spy, no matter what he has done. He also nails scenes as iconic as the opening sequence, which is one of those scenes you shouldn’t miss before the big night Sunday. Although not really well known by the world, Rylance’s performance is a must see, as it is one of the finest this year.

 Sylvester Stallone: Creed

Unfairly snubbed Creed only received one nomination, but at least is somehow represented in Hollywood’s big night. Sylvester Stallone is an actor than needs no introduction. The senior of this category is an iconic figure in American cinema history for both the Rocky and the Rambo series.

In Creed, Stallone picks up his role as Rocky Balboa, the most famous boxer in fiction. In the seventh instalment of the long-lived franchise, Balboa is once again retired until a young boxer appears on his restaurant. The young boxer is Adonis Creed (portrayed wonderfully by Michael B. Jordan), son of Rocky’s friend and former rival Apollo Creed. Adonis asks Rocky for his help, wanting Rocky to train him so he can become as good a boxer as his father was.

Stallone is, once again, a great Rocky Balboa, with just a touch of cockiness and a very big heart. Rocky is older now, and also more vulnerable. The actor is able to portray this new Rocky perfectly, making the character relatable and loving. He’s the most human Rocky we’ve ever seen, Stallone making the strong boxer a human being in his lonely late years.

Many say this nomination has been a long time coming and consider Stallone should have won in 1977, when he was nominated for both Best Actor and Best Original Screenplay for the original Rocky (1976). Personally, I believe this role has developed along the years with him, and the latest portrayal of Rocky is the one that shows us how Stallone has been able to give shape to a multidimensional loved character.

 Who should win?

There have been many wonderful performances this year, but I think Mark Rylance and Christian Bale were the best out of the five nominees. Stallone might have been great, Hardy was amazing (although even better in Mad Max) and Ruffalo was fine, but Rylance and Bale both gave performances of a lifetime. Although, it seems Bale does that every other year.

 Who will win?

Everyone is sure Sylvester Stallone will win. The runner up is Rylance, but it seems pretty clear Stallone will win this award not only for his role in this movie, but in the whole franchise.

 Come back tomorrow for Actress in a Supporting Role!

[cinematicbydigrazia-en]

1 WEEK LEFT: OSCARS RACE

Finally, we are seven days away from the Oscars. And what a ride it has been! The road has been crazy so far, and unpredictable. With the DGA, the SAG ensemble award and the PGA going to 3 different films, we are still a bit undecided on who to predict as the big winner of the night.

For the next few days until the awards take place in big old Hollywood, I’ll post my analysis and predictions of the main categories. Just as last year, I’ll dedicate a post for each of the four acting categories, as well as a big post analysing the movies up for Best Picture. There will be also a final post with my final predictions on Saturday night / Sunday morning, just in time for Oscars night.

For now, and starting the week with some tentative predictions, I’ll ramble a bit about some of the categories, who is likely to win, who has not a single chance, and who really deserves it. Some of my predictions will maybe change before Sunday night, but these are my thoughts right now, with some movies still left to watch.

 BEST PICTURE

The race so far has been wild. A few months ago, it was pretty obvious The Revenant would be the winner, Iñárritu taking once again all the awards home. But then came The Big Short and Spotlight, big winners in many awards ceremonies the last few months. The Revenant seemed to disappear from the spotlight (no pun intended) until Iñárritu won the DGA and everyone started second-guessing their predictions.

So who’s really still in the race? Brooklyn is beautiful, but a small romantic drama never had a chance against films big in technical categories. Same goes to Bridge of Spies, astonishing film, really underrated. Room will be satisfied with Best Actress, and The Martian may leave empty-handed. I wish Mad Max: Fury Road had any chance, but it is highly unlikely.

The three real contenders seem to be The Big Short, Spotlight and The Revenant. Although I’ll analyse it more extensively in a few days, I have to say this is one of the wildest races I’ve seen. Last year, people were big in the Birdman vs Boyhood race, but the possibility of Iñárritu winning for a second year is big, and it’s making people crazy. The division in awards doesn’t make it any easier. The DGA went to The Revenant, the PGA to The Big Short and the SAG ensemble award went to Spotlight. This is really funny when you think experts always say it’s easy to predict the Best Picture winner because they usually win these 3 awards, or at least 2. So predicting? Not really easy.

Right now, I really think it’s going to go to The Revenant. I’ll go more into it in my Best Picture post, but although I prefer The Big Short, I think The Revenant is the full package, and the Academy is probably going to fall for it. After all, the movie is Oscar bait at its finest.

 DIRECTING

Iñárritu seems to be going for the win. There is no way The Big Short’s Adam McKay, Spotlight’s Tom McCarthy or Room’s Lenny Abrahamson have any chance. Some were betting big on Mad Max: Fury Road’s George Miller, but the DGA seem to have put Iñárritu for his second Oscar in a row.

 ACTOR IN A LEADING ROLE

I’ll analyse each performance in my post, but really, this is the easiest category to predict this year. I think if Leonardo DiCaprio doesn’t win, there will be actual riots all around the world. It’s DiCaprio’s year, he almost killed himself filming The Revenant for this. So there’s no question, DiCaprio will win.

 ACTRESS IN A LEADING ROLE

I think the acting categories have been the most predictable this year, which is weird. Usually, I think there’s some doubt because there are so many performances, but this last couple years, they seem the easiest categories.

Brie Larson will probably win Best Actress for her haunting startling performance in Room. She was amazing, and this young actress proved herself, coming from unknown performer to A lister in just a few months.

On a personal note, I must point out how crazy it is Brie Larson is nominated for Leading Role and Alicia Vikander for Supporting Role. Room was really about Jacob Tremblay, so I would think Larson should have been nominated as a supporting actress. The Danish Girl, although about Eddie Redmayne’s character, was clearly focused on Alicia Vikander, and so she should have been nominated as leading actress. I know the latest was done to assure her winning, but it robbed her from a double nomination, as she deserved a supporting actress nomination for Ex Machina.

 ACTOR IN A SUPPORTING ROLE

Sylvester Stallone seems to be the winner. Only a few people think Mark Rylance stands a chance, and no one is even considering Hardy, Bale or Ruffalo, although the three of them are amazing in their movies.

The award will most probably go to Stallone, finally giving him the award he should have been awarded back when the original Rocky was released.

 ACTRESS IN A SUPPORTING ROLE

There seems to be no doubt Alicia Vikander will rule the category. Although she was unfairly snubbed at the Golden Globes, we must consider that (as it happened in the BAFTAs) she was nominated as Leading Actress for The Danish Girl (and Brie Larson obviously won) and as Supporting for Ex Machina (award won by Kate Winslet for Steve Jobs). This time, she’s nominated as Supporting for The Danish Girl, and this gave her the win in the SAGs.

 ANIMATED FEATURE FILM & SHORT FILM

Also pretty predictable, although the Academy decides to suddenly surprise us as it has done other years. Inside Out is the obvious winner after sweeping awards all over the world: it won big at the Annies and took animation awards at the BAFTAs, Critics’ Choice Movie Awards, Golden Globe and PGAs. It’s also nominated for Best Original Screenplay, which simply locks it as the favourite.

Little known Boy and the World and When Marnie Was There aren’t any threat, neither is Shaun the Sheep Movie not rated R Anomalisa (I don’t think a rated R movie will ever stand a chance in this category, mostly because the viewers will be prejudiced even before starting because of the stereotype animations movies must be for children).

What about Animated Short Film, though? Although many are rooting for Pixar’s Sanjay’s Super Team, it was World of Tomorrow that actually got the Annie award. Don Hertzfeldt really original and unique short film has also had another 26 wins, which Pixar’s short film lacks even nominations (it currently has only been nominated to the Annies and the Oscars). So, I think World of Tomorrow will win.

 ADAPTED SCREENPLAY & ORIGINAL SCREENPLAY

The WGA (Writers Guild of America) pretty much locked these. Spotlight and The Big Short will win. They are the runner ups for Best Picture and The Revenant isn’t nominated for screenplay. So yeah, it’d be shocking if they weren’t to win.

 CINEMATOGRAPHY

I’d love to watch stunning Mad Max: Fury Road win, but it seems The Revenant will give Emmanuel Lubezki his third win in a row, after winning for Birdman in 2015 and Gravity in 2014.

 FILM EDITING

I think Film Editing is currently a fight between The Big Short and Mad Max: Fury Road. Although The Revenant has excellent editing, I think this award will go to honour another movie that was in the Best Picture category but didn’t get the biggest award of the night. Right now, I think Mad Max will sweep most of the technical/artistic awards, so it’ll probably be one of Mad Max’s wins of the night.

 PRODUCTION DESIGN

Who can say Mad Max: Fury Road didn’t have the best production design in years? The most original, colourful and dynamic production design I’ve seen in years. If it doesn’t win, it will be a total snub. But I’m pretty confident it will win over The Danish Girl, Bridge of Spies, The Revenant and The Martian. It will be another technical award for Mad Max’s low key night.

 COSTUME DESIGN

This is one where I’m still unsure. Many people are sure Sandy Powell must win. She’s a powerhouse and she has two nominations (and another three Academy Awards under her belt). But Mad Max: Fury Road’s Jenny Beavan has so far won the BAFTA over her. So this is a difficult one. Will either of Sandy Powell’s movies win? In that case, which one? Predictions seem to be going more for Carol, but I personally think Cinderella’s costume design is more impressive.

 I think the upcoming Costume Designers Guild Awards might help us figure out this category.

 MAKE UP AND HAIRSTYLING

This will be another of Mad Max’s technical category wins. It did better than The Revenant (although DiCaprio’s injuries were amazingly made) and it will be a way to make Mad Max a big winner of the night, although without any major awards.

 ORIGINAL SCORE & SONG

Seeing how the race has gone so far, Best Original Score will go to Ennio Morricone’s The Hateful Eight’s score. It will likely be the movie’s only award on Sunday’s night.

Best Song is where I am at a total loss. It seems to be a battle between The Hunting Ground and Spectre, and most experts think the former will win, although the latter won the Golden Globe.

 VISUAL EFFECTS

No matter how good The Revenant’s bear looked or how well Ex Machina’s robot was done, this is a race between Mad Max and Star Wars, both big Visual Effects titans with amazing graphics and cinematography. Some experts think this will be crown jewel for Mad Max’s technical award sweep. Others think this will be a nod to Star Wars, as it won’t win any other category. It certainly looks like Star Wars will get the friendly nod, it recently won the Visual Effect Society award.

 SOUND EDITING & MIXING

Bets are on The Revenant for both categories, Mad Max being the runner up. This week, The Revenant won big at the Cinema Audio Society, so that’s a good sign Iñárritu’s film will get another two Oscars.

 FOREIGN LANGUAGE FILM

Another obvious prediction, no one has doubted Son of Saul will win the category. Can’t say much more, but the Auschwitz movie seems to have captivated both critics and award voters and will be honoured Sunday night.

 DOCUMENTARY FEATURE & SHORT SUBJECT

I honestly never know anything about these categories. I don’t watch the movies because A) It’s difficult to find them and B) I don’t have the time to watch everything and I much prefer watching the films.

It seems Amy will win Documentary Feature, sadly for critically acclaimed What Happened, Miss Simone?

Documentary Short Subject is more difficult. Body Team 12 seems to have a chance, but Claude Lanzmann: Spectres of the Shoah is a strong contender. I really don’t know, but I’ll hopefully have a better idea by next Sunday.

 LIVE ACTION SHORT FILM

Also a category I’m not really into. Basically because it’s impossible to find them. If it’s difficult to find the Animated Short Films, it’s a miracle to find any of these. Literally no idea who will win. I’ve heard people root for Ave Maria, Shok, Day One…

THIS WEEK…

It won’t be a post a day, but almost. We have six posts ahead of us: 4 for acting, the Best Picture master-post and final predictions on Sunday. So I hope you enjoy my coverage of the Oscars, and I can’t wait to read your own predictions and opinions!

[cinematicbydigrazia-en]

LEARN THE NAME: DOMHNALL GLEESON

Some of you are probably binge watching the Oscar nominees before the big night and if you’ve already watched Brooklyn, The Revenant, Star Wars and Ex Machina you might have noticed they have something in common other than their nominations. Noticed yet? Clue: it’s a very cute very talented ginger Irish actor. His name? Domhnall Gleeson.

His name might be complicated to spell (god knows I have to google it from time to time) but his is a name you must remember for the future. Why? Because, if you hadn’t heard of him before, this will definitely not be the last time you read about him. He is a rising star, and he’s just beginning.

 So, who is Domhnall Gleeson?

Domhnall Gleeson is a 32-year-old Irish actor that might have already caught your attention before. He has been acting for a while, most notoriously he starred in 2010’s Never Let Me Go (alongside Keira Knightley, Andrew Garfield and Carey Mulligan) and True Grit. He also played Bill Weasley in the Harry Potter franchise, which is probably the first time some of us (or maybe just me) thought: “hey, who is that guy?”.

 He was also in 2012’s Anna Karenina playing sweet Levin and starred in Black Mirror’s second season episode Be Right Back alongside my personal favourite Hayley Atwell (Marvel’s Agent Carter). But his big breakout came in 2013, when he made the world fall in love with About Time. A fairly unknown romantic drama, Richard Curtis’ (Love Actually, Bridget Jones’s Diary) latest script mixed romance and time travelling in a must see film that also starred Oscar nominee Rachel McAdams and British legend Bill Nighy. Personally, this was the first time I googled Gleeson and tried to make a mental note to follow his career.

 But if 2013 had brought his breakout moment, 2014 was the year he started to be known. He starred in Frank (Oscar nominee Lenny Abrahamson’s second feature) with Michael Fassbender and Maggie Gyllenhaal, Calvary (alongside his father, Brendan Gleeson*) and Angelina Jolie’s underrated Unbroken.

 As if 2014 wasn’t big enough for him, Gleeson scored four great movies on 2015. Interesting fact? All four movies are Oscar nominees this year.

 Oscar binge watching and Domhnall Gleeson

Now that you’ve got some context, let’s talk about Gleeson’s big year. Let’s go back to Oscar binge watching and spot the Irish actor on his four movies.

 Ex Machina

Gleeson reunites with Alicia Vikander after 2012′s Anna Karenina to play a single, naïve and cute programmer called Caleb. After winning a one-week visit to his software company’s CEO home, Caleb is introduced to Ava, a robot whose artificial intelligence is far ahead of her time.

 Brooklyn

Still sweet and cute, but far away from any robots, here Gleeson plays Jim, a love interest for Saoirse Ronan’s Eilis. He represents home, familiarity and routine in a story about travel and decisions.

 Star Wars: Episode VII – The Force Awakens

His role in Star Wars couldn’t be more different from Tim or Caleb. Totalitarian General Hux was probably more hated than Kylo Ren, and definitely considered the real villain in Star Wars’ latest instalment.

Hux is a general in the First Order and right hand to the new Dark Side. His speech before using the First Order’s biggest weapon has been compared to Hitler’s wartime speeches, and has earned Gleeson a lot of praise.

 The Revenant

From mean inhuman soldier to a man just trying to survive. Gleeson plays Captain Andrew Henry, a decent man among salvages (and I’m not talking about the Native Americans) that has to make difficult decisions to keep his men alive in cold dangerous enemy territory.

  What about the future?

Gleeson plays four very different man in four critically acclaimed films. And his career is just beginning. Despite looking like your typical sweet British guy, he has proved over and over again he’s able to play any kind of part. All it’s left to say is: keep an eye on this man. He’s already big, but he’s going to be huge.

 In 2016, you’ll be able to catch Domhnall Gleeson on Crash Pad. Currently taking a break, he’ll be back on the big screen in 2017, starring alongside Tom Cruise on Doug Liman’s (Edge of Tomorrow, Jumper, Mr. & Mrs. Smith, The Bourne Identity) Mena and reuniting with General Hux on Star Wars: Episode VIII.

*Brendan Gleeson, yeah, that Brendan Gleeson. Irish legend, 3-time Golden Globe nominee, Harry Potter’s very own Mad-Eye Moody.

 PS: Oscars predictions are coming. Soon.

[cinematicbydigrazia-en]

SUICIDE SQUAD 101

Superman, Batman, Wonder Woman, Spider-Man, Iron Man, Captain America… Superheroes are everywhere lately, with more than twenty movies slated for the next four years. But there’s more to Marvel and DC than superheroes, and 2016 is the year that is starting to show it. Both Marvel’s Deadpool and DC’s Suicide Squad will be released this year, welcoming the audience to the world of not-really-superheroes.

Although Deadpool isn’t really a supervillain, he started as one, and he’s never really become a real superhero. He’s usually described as an antihero, and you can bet the Avengers’ team of “goody two shoes” wouldn’t accept his way of solving stuff. But while Deadpool finds himself in the blurry line between good and bad, he’s not really a supervillain anymore. He’s just a man, doing good in a politically incorrect way.

For the first time in movie history, a team of special people will assemble… but this time, they aren’t superheroes, they’re supervillains. And that’s why Suicide Squad is really important. It’s the first time supervillains aren’t the secondary character to a superhero, the plot twist to prove the superhero’s worth. In Suicide Squad, they are the main characters. And, for what we see, it’s going to be great!

Celebrating the release of an incredible new trailer for the movie, in theatres August 2016, we’re going to learn a bit about this crazy team.

 So what is the Suicide Squad?

“Super heroes aren’t the answer to every problem. Sometimes, extreme situations require extreme measures… or extreme individuals. The sort of individuals who call the infamous Belle Reve Prison home – super villains.” 

That’s how DC Comics’ website starts its character’s sheet on the Suicide Squad. Just reading this, you know you’re in for a wild ride.

The Suicide Squad (official name: Task Force X) is a team made up of the worst supervillains in the DC universe. Assembled by director Amanda Waller, the incarcerated, death row supervillains are sent to high-risk covert operations in exchange for commuted prison sentences. This may mean they’re doing good, but it doesn’t at all mean they’re suddenly the good guys.

Why the name?

It’s as simple as it sounds: every member of the Squad is expendable. If they die, it’s one less problem for the world, right?

If they’re able to go free for a “mission”, what prevents them form escaping?

Priority number one is saving the world, but that doesn’t help if, by doing it, you put the world in danger by letting a deranged villain on the loose. All Suicide Squad members have an explosive device fitted in their neck, so they are forced to obey. Otherwise, BOOM. They’re expandable, remember? So no escape for them.

 So, who is actually in the Suicide Squad?

The members of the team change depending on which comics, which story, which version you’re reading.

In the movie, it seems to be formed by Deadshot, Harley Quinn, Rick Flag, Captain Boomerang, El Diablo, Killer Croc, Slipknot, Enchantress and Katana. This is all based in the official casting picture. The Joker, of course, is in the movie, but doesn’t seem to be in the team. Enchantress seems to be in the Squad (if you go by the picture), but the trailer may hint at something else. 

The team is led by Amanda Waller, a badass government agent we’ve previously seen portrayed in the current TV DC universe by Cynthia Addai-Robinson (Arrow). It is also worth noting Ben Affleck’s Batman will have a cameo.

 Who’s who and what do they do?

The Joker (Jared Leto)

Jared Leto portrays the psychopathic deranged supervillain the Joker. Probably the most notorious DC villain, the Joker has been portrayed a couple times in cinema. From Jack Nicholson in Batman (1989) to Heath Ledger’s haunting last performance in The Dark Knight (2008), the Joker has always been part of popular culture.

This time, he isn’t the supervillain to Batman’s main character, he’s getting his own show. Although it is unclear if he’s part of the Suicide Squad (unlikely) or will be, he has been key in the marketing campaign for the movie.

For those who haven’t met the Joker before, he’s the ultimate supervillain. He’s brilliant, he’s crazy, he’s sadistic, he’s goofy and he’s really bad. He likes to play jokes, but only the kind that will end up with him laughing, and you probably dying.

He’s always been Batman’s nemesis, and he’s been the cause for many tragedies around the superhero, both in previous movies and comics. His portrayal is different in every movie and TV show, even from comic to comic. So we’ll see what Jared Leto brings to the character. So far, the actor describes him as a “beautiful disaster of a character”, adding “it was fun, playing these psychological games; but at the same time, it was very painful”.

 Harley Quinn (Margot Robbie)

Mostly known as the Joker’s lover and frequent accomplice, she worked as a psychiatrist at Arkham Asylum, where she met the Joker. Fascinated by the supervillain, she volunteered to analyse him and fell in love with him. And so, she became a supervillain herself.

Harley is usually dressed as a harlequin (hence the name), so the movie has made some important changes in her appearance. Fortunately, they’re keeping the Universe 52 two colours pigtails and Margot Robbie really looks the part. 

Harley’s character is similar to the Joker’s, albeit a little less crazy and psychotic. As for her powers, she has superhuman agility, enhanced strength and is immune to poisons and toxins thanks to her friend Poison Ivy.

 Deadshot (Will Smith)

Previously and briefly seen in Arrow’s very own Suicide Squad, Deadshot is an assassin that lives by a simple code: do the job that you’re hired for with the least amount of casualties possible – after all, you’re not being paid to waste bullets. 

He doesn’t have superpowers, but he certainly doesn’t need any. He has unrivalled aim and combat skills. Long story short, he’s a badass. Also, he has cybernetic implants that enhance his abilities. Hence, that brilliant red eye.

 Enchantress (Cara Delevingne)

Enchantress is probably the most mysterious character in the movie, because we know little about what’s her deal in the plot. She doesn’t seem to be in the Suicide Squad, so could she be the cause of Waller assembling the supervillains? Could she be wreaking havoc? Or maybe she’s partnered up or used by the Joker? So many possibilities, and hopefully it’ll remain as mysterious until the movie is released. Too much information is no fun.

Enchantress is a woman that acquires unlimited magical powers, which makes her very powerful. She can manipulate magical energy for many purposes (healing, transportation, telekinesis, waking through walls). According to the trailer, she’s “possessed by a witch”.

Her appearance has also changed from the comics. Her looks have been redesigned to make her look visually different and unique, and she appears darker, in black gothic clothes instead of her green dress.

 Rick Flag (Joel Kinnaman)

Fun fact: Originally, Rick Flag was going to be played by Tom Hardy.

Rick Flag has no powers, but he’s still usually considered the team’s leader above Amanda Waller’s orders. He’s the son of Rick Flag Sr., member of the original Suicide Squadron during World War II, and he’s following his father’s steps in military. The trailer seems to hint as him not being one of the bad guys: when Harley breaks a shop window to steal a bag, he asks “What the hell is wrong with you people?” Harley’s answer: “We’re bad guys, this is what we do”. So yeah, maybe he’s the only good guy in there.

Interesting fact from the trailer, something may be going on with Rick and Enchantress, as they’re seen together (while she isn’t in Enchantress attire) studying the future members of the Squad:

Captain Boomerang (Jai Courtney)

I think the name says it all, right? Both known as Boomerang or Captain Boomerang he’s a supervillain who first appeared in The Flash comics like this: 

Cool costume, man.

And he, well, uses a boomerang. Also, he’s Australian. His abilities? He carries a lot of boomerangs, some of them with special properties, and well, he’s good at throwing them. From the trailer, he seems to be a little crazy, and really violent. He also appeared in Arrow. And that’s about it. An Australian with a boomerang, talk about stereotypes.

 El Diablo (Jay Hernandez)

As it usually happens with comic book characters, there have been several incarnations of the supervillain El Diablo. The one in the movie seems to be the third and latest incarnation, Chato Santana, who is a member of the Suicide Squad in the comics.

He’s a gangster, and he has pyrokinetic powers. This can be briefly seen in the trailer, and you can see they soak him wet when they release him. Good preventive measure, I guess. Also, he’s got a skull tattooed on his face.

 Killer Croc (Adewale Akinnuoye-Agbaje)

He might remind you of The Thing, but he’s just a very weird guy with reptilian appearance because of a weird genetic thing (atavism, if you want to look it up, which is the tendency to revert to ancestral type, basically the opposite of evolution). In the comics, he basically became a villain because he was bullied for his looks.

He has regenerative powers, superhuman strength, endurance, speed and… reptilian senses? He’s a tough guy, that’s for sure. And, according to Rick Flag, “he’s a crocodile, and he eats people”.

 Slipknot (Adam Beach)

Not to be confused with the band that goes by the same name, Slipknot is a mercenary, much like Rick Flag and Deadshot. He’s good with ropes, and not much is known so far about him. He seems the silent deadly type.

Katana (Karen Fukuhara)

Katana is a Japanese woman who’s very good at, surprise, martial arts. She is excellent at hand-to-hand combat and swords.

You may have seen in the trailer that her eyes turn black and her sword shines. That’s because she has a Soultaker sword. As it is obvious from the name, the sword takes the souls of those it kills and stores them, letting its owner communicate with them.

In the movie, Katana will be Rick Flag’s bodyguard, so she’s a volunteer in the team.

 Amanda Waller (Viola Davis)

She’s basically the boss. She comes up with the idea of the Suicide Squad and directs the missions away from the battlefield.

She’s usually considered a villain, but she’s technically a government official. She’s in the blurry line between good and bad, though, because she uses intimidation and threat to achieve her goals. She’s intelligent, ruthless and assertive. She’s a badass.

 One last mystery…

Who is Scott Eastwood’s mysterious character? We see him briefly in the trailer, but his character isn’t listed anywhere. There most popular rumour is he could be Deathstroke; it could be, but rumour has it that character was supposedly cut from the movie.

There is definitely a reason why DC is so secretive about it, so he probably turns into a known character (supervillain, I suppose) in the middle of the movie, maybe because of something the squad provokes. Who knows?

 Are you excited for the movie? Could Suicide Squad start a trend for supervillain movies?

[cinematicbydigrazia-en]

LOOKING FOR SOLO

Looking for the new Han Solo movie on the Internet isn’t very fruitful right now. Directors and screenwriters have been announced (Phil Lord and Christopher Miller, and Jon and Lawrence Kasdan, respectively), and there’s also a release date: May 25th, 2018. Apart from that, there’s nothing. There’s no title (it’s listed as Untitled Han Solo Star Wars Anthology Film), there’s no plot, there’s no summary. Most importantly: there’s no actor.

Many doubt there’s an actor capable of filling Harrison Ford’s shoes. After all, Han Solo is one of the most known and most loved characters ever, and the challenge seems to be more in getting a great actor than in making a good movie.

This week, Variety posted a list of names that, supposedly, are among the dozen or so actors shortlisted for the role. From the thousands (no kidding, it was reported more than 2,500 actors have auditioned) of actors announced a month ago, the list is down to merely twelve people. But Star Wars fans don’t seem convinced.

Disney hasn’t seemed to have any criteria while auditioning actors for the role. Actors ranged from 17 to 34 in age (Harrison Ford was 35 when he first played Han Solo), and neither nationality, experience nor appearance seem to have been that considered.

Let’s take a loot to Variety’s shortlist.

Miles Teller

Age: 28

Known for: Whiplash, Fantastic 4, Divergent, The Spectacular Now

Miles Teller is no stranger to the big screen, and he is very valued in the movie industry right now. He’s starred in musicals (Footloose), superhero movies (Fantastic 4), indie movies (The Spectacular Now), a lot of comedies (That Awkward Moment) and even some Oscar worthy films (Whiplash). His fans consider this proves he has both the character for Han Solo and the capability to perform in action scenes.

 Ansel Elgort

Age: 21

Known for: The Fault in Our Stars, Divergent, Carrie

Ansel Elgort is the youngest in the shortlist, and he’s mainly known for teenage dramas and a Young Adult adventures franchise. Even though his name is starting to be known around Hollywood, he still needs a few more years and roles to really be well known. Getting the role, of course, would make him an A lister in a second. Right now, his biggest fanbase are teenagers.

 Dave Franco

Age: 30

Known for: Now You See Me, 21 Jump Street, Neighbors

James Franco’s younger brother seems to be emerging as a young comedy star. Not yet really known, he has played a supporting role in most of his movies. Han Solo could be his first starring role. For now, he is filming sequels for his two better known movies.

 Jack Reynor

Age: 23

Known for: Transformers: Age of Extinction, Macbeth

He’s one of the least known on the shortlist. Aside from starring in the fourth Transformers movie, he has appeared in a Vince Vaughn comedy (Delivery Man) and played Malcolm in Macbeth. It can be outlined that he starred in Oscar nominee’s Lenny Abrahansom’s first feature: What Richard Did.

 Scott Eastwood

Age: 29

Known for: The Longest Ride, Fury

Better known for being Clint Eastwood’s son and for his model work, Scott Eastwood started acting a decade ago, but got his chance for fame in Nicholas Sparks’ The Longest Ride. He’s following his father’s footsteps, but can he get Hollywood most coveted role?

 Logan Lerman

Age: 23

Known for: The Perks of Being a Wallflower, Percy Jackson & the Olympians: The Lightning Thief, Noah, The Three Musketeers

Although he’s one of the youngest, Lerman is also one of the veterans. His cinematographic debut was in The Patriot, and since he has starred in several movies: Gamer, the Percy Jackson franchise, Stuck in Love, The Three Musketeers and The Perks of Being a Wallflower.

Alongside Miles Teller, he’s probably one of the biggest names in the list, and he has proved several times he can be the star of a film. But being Han Solo is much more than that.

 Emory Cohen

Age: 26

Known for: Brooklyn, The Place Beyond the Pines

Just seen in the Oscar nominee Brooklyn, where he plays a young sweet and caring Italian boy, Emory Cohen might be better known for playing Debra Messing’s son in Smash. There’s not much more about him, since he is practically a newcomer to Hollywood. Maybe he’s the one if Disney is going for less known actors.

 Blake Jenner

Age: 23

Known for: Glee

Blake Jenner got his big break as part of a new generation on Glee (where, by the way, he met his wife, Supergirl’s own Melissa Benoist). Since that, he has appeared in a couple TV shows and filmed a few films. In 2016, he will be in Richard Linklater’s Everybody Wants Some, described as “the spiritual sequel to Dazed and Confused. He’s another choice if they’re going for a less known face.

 If none of these really convince you, you are not alone. Most fans aren’t happy either. Some suggest other actors, and some would prefer a fresh face just like Daisy Ridley and John Boyega have been for Star Wars: The Force Awakens.

 Among the preferred actors, these names have been mentioned a lot:

 Chris Pratt

Age: 36

Known for: Parks and Recreations, Guardians of the Galaxy, Jurassic World

Fan favourite for a new Indiana Jones if Disney ever gets to it, Chris Pratt is also a fan favourite for Han Solo since he starred in Guardians of the Galaxy. His detractors have two arguments: he’s too old (36, Ford was 35), and he’s already signed to two big franchises.

 Dylan O’Brien

Age: 24

Known for: Teen Wolf, The Maze Runner

Better known for his role in MTV’s Teen Wolf, where he plays the quirky, ironic and nerdy hero’s best friend, Dylan O’Brien has proven he can star in an adventures movie thanks to the The Maze Runner franchise. For many fans, the combination of these characters make him the perfect choice.

 Anthony Ingruber

Age: 25

Known for: The Age of Adaline

Surprisingly, Anthony Ingruber is the less known of the choices, but he’s also one of the favourites among fans. In The Age of Adaline, Ingruber plays a young Harrison Ford. He must have been very good, because that convinced many people he must be the new Han Solo. You can add his impression of Ford’s Han Solo in this YouTube video:

Could Anthony Ingruber be the perfect Han Solo? Or one of the other candidates? Or maybe it’s one of the hundreds of actors suggested by fans? Variety’s shortlist isn’t complete (they reported those announced were only “part of the shortlist”), so there’s a chance another one or two fan favourites are being considered by Disney.

 According to Variety, the final decision will be taken in a couple weeks, so we can expect an announcement in the next few months. The new Han Solo won’t be able to make everyone happy, but we really hope he’s able to fill Harrison’s Ford shoes and play a great Han Solo.

[cinematicbydigrazia-en]

IT’S THAT TIME OF THE YEAR AGAIN, IT’S OSCARS TIME

It’s that merry time of the year again. And no, I’m not talking about Christmas or sweet sweet summer. Once the Golden Globes are over, actors start to get really nervous and, finally, Oscars nominations are announced.

Award season starts in autumn, but it’s not until Golden Globes’ night that normal people (those that aren’t hooked to cinema and award shows) realize it’s time to start watching movies and start predicting winners. The night of the Globes might be over, but soon enough the Academy comes with its nominations, as if waiting for its cue. And, although the Academy looks less and less to the Globes lately, they are still the official start for the season.

This year, as it always happens, there were the very expected nominations, some surprises and some disappointments. Movies are snubbed, actors are ignored, and others surprise with far many more awards than predicted. In the next few paragraphs, I’ll be talking the nominations, the surprises and some early nominations.

 Looking at the nominations.

The biggest favourite, The Revenant, got even more nominations than most experts predicted. Nominated in 12 categories, Iñárritu is clearly the Academy’s golden boy right now, and he will surely shine on February 28th. But a biggest surprise comes right after, with 10 whooping nominations. Mad Max: Fury Road has beaten some of the favourites to get a spot in both Best Picture and Directing. Just a nomination for an action movie is surprising, but starring in the most important categories is shocking. Maybe this points to the Academy finally opening up from its old habits and looking away from the Oscar bait in front of it.

It was slightly surprising that The Martian came in the third spot, with 7 nominations. Although space odysseys are beginning to be a must for the Academy, it’s not the first movie that comes to mind when one thinks about the Oscars. When I first watched the movie, I briefly considered a nod either to Damon or Ridley Scott, and I don’t know what’s most surprising, if the number of nominations or the lack of one for the director. Although, considering this movie, the biggest surprise might still be that it won best comedy on the Golden Globes.

Up with six nominations, we have Bridge of Spies, Carol and Spotlight. Spielberg’s movie has been recognised, but less than expected. Although very talked about last fall, I think it has slipped the critics’ mind after The Revenant came by. Carol has been one of the big losers of the announcement. Once the biggest favourite, it hasn’t been nominated in Best Picture nor Directing. Spotlight shares the number of nominations. We all know a good journalism story always attracts the Academy. The biggest surprise for McCarthy’s film has been the snub for Michael Keaton after both his co-stars (Mark Ruffalo and Rachel McAdams) were nominated.

 Very different movies share five nominations. Although The Big Short got enough recognition, Star Wars: The Force Awakens has equal number of nods, but all are in technical categories, as it usually happens to this kind of movie. Many are questioning why Sylvester Stallone has a nomination for repeating his role as Rocky Balboa on Creed, but yet Harrison Ford’s Han Solo was forgotten by the Academy.

Afterwards, we got movies with four, three, two and one nominations. The Danish Girl, one of the biggest names a few months ago, was completely ignored in the most important categories. Scoring nominations for both its actors (Alicia Vikander unfairly pushed into Supporting Role by Focus, ruling her out of a second nomination for Ex Machina according to the Academy’s rules), it only managed to get two more nominations on more technical categories. Also with 4 nominations, Lenny Abrahamson’s Room, a late contender that has surprised critics everywhere.

Also a late or less known contender is Brooklyn, a beautiful coming of age film about a young Irish girl moving to America. The movie, featuring Saoirse Ronan and based on Colm Tóibín’s book, has scored 3 nominations. Close on its heels, with two nominations each, are Steve Jobs, The Hateful Eight (expected to get many more nods), Inside Out (surprising with a Screenplay nomination) and indie Ex Machina (little ray of hope that movies out of the usual Oscars race contenders have a chance).

Some were surprises, some were ignored.

For me, the biggest surprise of the day was Tom Hardy’s nomination for The Revenant. The English actor, mostly known this year because of Mad Max or Legend, has managed to get a Supporting Role nod against all odds. 

Besides him, the biggest shock of the day was probably the Animated Feature Film category. Both Inside Out and Anomalisa were widely expected to be nominated, alongside less known Shaun the Sheep Movie. But where The Peanuts Movie, The Good Dinosaur or Minions were expected, all three movies were ignored in favour of foreign titles. Japanese When Marnie Was There (Omoide no Mânî) could have been expected, being a Ghibli Studio film, but Brasilian Boy and the World (O menino e o mundo) was probably the least expected nomination of the day.

Among those forgotten were movies many critics considered favourites. If Mad Max, Brooklyn and The Martian surprised with so many nominations, Carol, Steve Jobs and The Danish Girl went home with almost empty hands. Once the most talked about, they’ve gotten to the finish line as the supporting role in a movie they were supposed to star in. 

Again, the #OscarsSoWhite hashtag has been trending topic. No POC were nominated in any of the four acting categories. It didn’t go better in the rest of the race. Michael B. Jordan and Straight Outta Compton (it only got one nod) are some of the most appraised people, forgotten by the Academy.

 Some early predictions.

I still haven’t had the chance to watch many of the movies nominated. So far, Mad Max is an incredible experience, Brooklyn is gorgeous, and The Martian is a beautiful odyssey in space. Inside Out is one of Pixar’s best, and Star Wars has been a strong return, slowly erasing the horror of the prequels. Until I have the chance to watch them all, there are still some categories that can be fairly predicted.

It seems this will finally be Leonardo DiCaprio’s year. His effort to bring Hugh Glass to life will give him his first Oscar. He will probably be share the honour with newcomer Brie Larson. Although there are several A-listers nominated alongside her, the Room actress is a critics’ favourite.

The Animated Feature Film category is a tie between Inside Out and Anomalisa. If the Academy acts as expected, Pixar will win again. But we’ll wait until the Annie awards to predict that. There’s no tie nor doubt about who’ll win Best Foreign Language Film. Son of Saul (Saul fia) seems to have no competition.

Supporting Role are more complicated categories. Sylvester Stallone is apparently the favourite after the Globes, but there’s talk about Mark Rylance (Bridge of Spies) we can’t ignore. Talking about women, Kate Winslet might have won the Globe, but she didn’t face Rooney Mara and Alicia Vikander there (both nominated as Leading Role then; although she faces Vikander for another movie) for their acclaimed roles. 

We’re not getting into technical categories now, so let’s finish up with Best Picture. The Revenant is a clear favourite, but it might not win. Although Brooklyn, Room, Mad Max, The Martian and Bridge of Spies probably won’t win, we can’t discard Spotlight and The Big Short yet. If Iñárritu were to win, it’d be his second smashing year in a row.

 As a final note.

I want to finish talking about how happy I am that so many stories about women have been recognised this year. Usually filled with stories about men overcoming adversity, male biopics, men’s adventures and problems, little by little it seems female perspective is getting its food in the door.

It’s the year of beautiful Brooklyn, impressive Room and brilliant Carol. We can’t forget strong female heroine starring in big box office winners Mad Max and Star Wars. They are all great movies, both for their quality and their help in the process of stories about women being recognised.

So, what do you think about the nominations? Do you have any favourites, any predictions?

 Check all the nominees here!