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My Oscars 2018 Predictions

2017 was, for me, a year where we see the transition from producing movies that are formulaic in nature to producing films that are diverse and dense in nature. That is tantamount to saying that the Oscar nominee line-up this year poses a list of films that are usually away from everyone’s ballot, or at least from the esteemed Academy veterans. Such is because of the influx of new Academy members, showing that indeed new lenses were introduced to the committees who hand out the prestigious golden statue. Nevertheless, placing predictions from this year’s competing nominees have been difficult because each film has meritorious nods on its own that deserve recognition. Here are my predictions for the Oscars 2018:

Best Visual Effects

The race is brutal in this category as previous visual effects nominees’ sequels came rushing into the line-up, Guardians of the Galaxy Vol. 2 and Star Wars: The Last Jedi, as well as the critically-acclaimed Blade Runner 2049. What stands out for me is the latest addition to Matt Reeves series, War of the Planet of the Apes not only because it used the new motion capture tool by Weta Digital, but because it is made by multi-Oscar-award-for-best-Visual-effects Joe Letteri (who is notable for his work in Avatar and the Lord of the Rings trilogy). My best bet goes to the veteran on this one.

Will win: War of the Planet of the Apes

Could Win: Blade Runner 2049

Best Sound Mixing

If sounds could tell a whole story, they’re better told in Dunkirk and Baby Driver than the rest of the nominees in this category. Many overlook the essence of what it really means to perfectly sync sound to scene, and I think both films made sure to make them stick.

Will win: Dunkirk

Could Win: Baby Driver

Best Sound Editing

The sounds made for the film itself is best achieved by Dunkirk among the nominees. The difficulty in predicting the winner for this category lies in that the previous winners for the category (e.g. American Sniper, Mad Max: Fury Road) each have different reasoning on why they won in that it’s almost a blur choosing between mixing and editing.

Will win: Dunkirk

Could Win: The Shape of Water

Best Original Song

Typically, the Best Original Song is awarded to a well-rounded song that is essentially used in a film scene; and this year’s nominees have two of those in competition: This is Me from The Greatest Showman and Remember Me from Coco. In the end, it all boils down to taste, and I would have to follow my own.

Will win: Remember Me from Coco

Could win: This is Me from The Greatest Showman

Best Original Score

I rarely get enticed so much by a musical score but The Shape of Water soundtrack made by the Oscar-winning scorer Alexandre Desplat (who once competed with himself for the same category in the year of The Grand Budapest Hotel and Interstellar) has transported me to the magical world that is the setting of the film, and that’s not something I believe the other nominees besides Dunkirk could possibly overcome.

Will win: The Shape of Water by Alexandre Desplat

Could win (although a long shot, at best): Dunkirk

Best Production Design

A truly magnanimous design, often from period films, are the Oscar snatchers of this category, and this year is no different, as the frontrunners, at least from my book, are The Shape of Water (set in the 60s) and Darkest Hour (set during Winston Churchill’s seat of power). But what quickly changed the game this year is Blade Runner 2049 which took my breath away with its set design! This is a hard pick to make.

Will win: The Shape of Water

Could win: Blade Runner 2049

Best Makeup and Hairstyling

Yet another year of unprecedented nominees, this category continues to surprise me since all the nominees are focused on natural-looking prosthetics, instead of the typical nominees that are superhero movies or science fiction ones. I would have to go with the fluid prosthetics made by Kazuhiro Tsuji, Kazuhiro Tsuji, David Malinowski and Lucy Sibbick, to make Gary Oldman look like Winston Churchill.

Will win: Darkest Hour

Could win: Victoria & Abdul

Best Costume Design

Phantom Thread won me over in this category since, after all, the movie is literally about costume designing.

Will win: Phantom Thread

Best Foreign Language Film

I would say Ruben Östlund was surprised when his 2015 Force Majeure was snubbed unorthodoxly by the jury as it was thought to be a true frontrunner but ended up not even being nominated. Nonetheless, this year he comes back from his being robbed to being the 2018 true frontrunner with The Square, the Palm D’Or winner which stunned the Cannes audience with its unconventional satire. Alongside this film in the front row of the Foreign Language films is A Fantastic Woman which chronicles an LGBTQIA+ drama starring a transwoman. Both seem to win the best prize but I would go with the choice of going with the Art House film which I genuinely enjoy, and The Square gave me that and more.

Will win: The Square

Could win: A Fantastic Woman

Best Animated Feature

I’d like to think that Pixar won’t have it this year, or in the next years to come, but their winning streak surely isn’t stopping this year, as Coco climbs into an essentially good front row seat, where the other films sit comfortably way back in the back,, with The Breadwinner just a few seats in the middle of the whole thing.

I changed my mind, The Breadwinner surely has a more complexity and depth than the other nominees this year, and it’s high time to let Pixar with their entry Coco to stand a few steps down from the limelight, at least from my perspective. The Breadwinner is socially relenting, and it’s hard to go against its narrative depth. The other nominees still sit comfortably in the back row. I hope that the Academy derives the winner of this category not based on who produced it but on what is produced as the final product.

Will win: Coco The Breadwinner

Could win: The Breadwinner Coco

Best Editing

When Baby Driver stole that BAFTA from Dunkirk, I immediately had my eyes open the whole time: a true surprise, since BAFTA predicts this category most of the time. War films dominate this category like a lion amongst men, but I insisted on myself that I push through with considering Baby Driver. On the one hand, I Tonya sure hits those marks with the careful weaving of the ice skating stunts, and the dramatic intercutting of the mockumentary clips inspired by the true interviews.

Will win: Dunkirk

Could win: Baby Driver

In a perfect world (or rather a more personal choice): I Tonya

Best Cinematography

There are only a few spots to consider for best cinematography and this year’s Oscar lineup couldn’t have a more exciting battle: Mudbound’s Rachel Morrison, the first female director of phtography to ever join the ranks, Dunkirk’s Dutch Hoyte Van Hoytema, notable in his BAFTA nomination from working in Interstellar), and Blade Runner 2049’s Roger Deakins, who has received 13 Oscar nominations for this category. I think I would have to go with Blade Runner 2049 because that award is long overdue for Roger Deakins. Second comes Dunkirk, because of its amazing 65mm framing and smooth visuals.

Will win: Blade Runner 2049

Could win: Dunkirk

Best Original Screenplay

Probably the most expectation defying moment of this awards season is giving the WGA trophy to Get Out over the other nominees. I would say that that awarding is by far the most shocking of everything I have seen this year because the nature of the narrative is not one typically awarded by WGA as having the top prize. Nonetheless, I believe that the screenplay is something I would probably give to Ladybird or Three Billboards Outside Ebbing Missouri, if only I were not met with that surprise WGA choice.

Will win: Get Out

Could win: Three Billboards Outside Ebbing Missouri

Best Adapted Screenplay

Logan was a surprise, but I have to give this to the adaptation of Andre Aciman’s novel Call Me by Your Name. My choice was based on a meritorious dialogue, well-constructed story, and one that flows through like the melodramatic summer coming-of-age that it is.

Will win: Call Me by Your Name

Could win: Molly’s Game

Best Supporting Actor

Sam Rockwell aced all the awards in this category and it’s highly impossible not to see him grab that golden statue. His portrayal of a troubled policeman really exudes a grounded character.

Will win: Sam Rockwell from Three Billboards Outside Ebbing Missouri

Best Supporting Actress

This one is a no-brainer, Allison Janey outplays all the other in this category since hers is a character driven by utmost love-hate emancipatory emotion, something hard to pull off from a critical perspective.

Will win: Allison Janey from I, Tonya

Best Actor

Biographically written characters like Winston Churchill have that distinct power, and Gary Oldman could not be a more fitting actor to play him. That marks him as my winner: he’s so dissolved in the character that Churchill is truly embodied in him. In another light, Timothee Chalamet’s performance is also not to be snubbed.

Will win: Gary Oldman from Darkest Hour

Could win: Timothee Chalamet from Call Me by Your Name

Best Actress

The cream of the awards, and the true noteworthy celebration of what it is to be a woman acting for film, this award is given to the best of the best. Merryl Streep is once again nominated for this prestigious award, yet the newcomers are those who are the frontrunners, particularly Frances McDormand and, my personal choice, Margot Robbie. The fight is truly not character dependent but rather performance dependent, and I think whoever wins deserves it no matter what. Sally Hawkins also pulses throughout The Shape of Water (to think she did not even have any dialogue!) and with each of her gestures, the emotions can be felt.

Will win: Frances McDormand from Three Billboards Outside Ebbing Missouri

Could win: Sally Hawkins from The Shape of Water

In a perfect world where my personal favorites are the winner: Margot Robbie from I, Tonya

Best Director

From a critical angle, I believe this to be a control-based award, given to a director whose direction rings throughout: one that is potent in every which way. As delicate as this award is, most of the nominees over the years have been notable, well-known directors. This year, I pick Guillermo Del Toro because of his almost-auteur and spellbinding magic in handling the 1960s adult fairytale that is The Shape of Water. Christopher Nolan and Jordan Peele comes into mind as the potential spoilers because of their vision-oriented storytelling and manipulation of the film elements.

Will win: Guillermo Del Toro from The Shape of Water

Could win: Jordan Peele from Get Out OR Christopher Nolan from Dunkirk

Best Picture

What I cannot accept, until this day, is how my favorite film of last year, I Tonya was snubbed in this most acclaimed award. All of my sentiments aside, what stands out among all the rest, are Three Billboards Outside Ebbing Missouri because of its unconventional-yet-conventional take on the familial relationships with hints and dashes of comedic and violent shades, and The Shape of Water, truly a visual spectacle that has a well-formed narrative that takes storytelling to a whole new level, painting a fairytale that can only be perfectly told by Del Toro himself.

Will win: The Shape of Water

Could win: Three Billboards Outside Ebbing Missouri

The 90th Academy Awards is happening on March 4, 2018, at 5PM GMT -8:

#film #film review #movie #movie review #oscars #oscars 2018 #oscar #academy #academy award nominee #academy awards #academy award

Gawad Urian 2017 Predictions

photo grabbed from: http://www.rappler.com/entertainment/31595-live-blog-36th-gawad-urian

Dubbed as the Philippine version of the British Academy of Film and Television Awards and the Oscars (then again, why does there have to be a Western counterpart to every Filipino original), the prestigious Gawad Urian comes back to celebrate the best of Filipino films once more, now reaching its glorious 40th year of ceremony. The judges are composed of a number of Filipino National Artists such as Bienvendio Lumbera, among others, and notable film critics such as Tito Valiente, all of whom can collectively be called the Manunuri ng Pelikulang Pilipino (MPP). This past year has been a spectacle for Filipino films as the nominees of the Gawad Urian have been multi-award-winning works in film festivals both local and foreign. I have seen almost all of the films nominated only by happenstance that I get to catch them in the theatres where they would have only about one to three days of screening only to be replaced by a Western film that would earn probably 10 times more than these independent films. However, this does not tamper with the quality (and, in a better world, the popularity) of these Filipino films that boasts rich narratives made by our own Filipino filmmakers. What I shall do is to assess, the way I see it, which film would most likely nag each of the awards; nonetheless, we must never forget that the film that wins the award does not necessarily indicate that it is better than the others; all of these films share a unique quality to their creative aspects and should be given the credit that they deserve given that they have been among the nominees of the Gawad Urian this year. Now, without further ado, let us venture into the best of this year’s Filipino Cinema (as seen by the MPP).

Best Sound

And the nominees are:

Hinulid, Mark Laccay

Women of the Weeping River, Albert Michael Idioma & Immanuel Verona

Ang Babaeng Humayo, Corinne De San Jose, Mark Locsin & Che Villanueva

Pamilya Ordinaryo, Albert Michael Idioma & Emmanuel Verona

Ma Rosa, Albert Michael Idioma

Paglipay, Andrew Milallos

Baboy Halas, Willie Apa, Jr. & Charlie Daclan

It is arguable, questionable even, whether foley artists from the other films deserve the award more in this battle of the sound than the sound recordists whose recordings are the diegetic (natural) sounds. Even thinking of assessing their mixing is difficult enough for me. But what I do know is that Hinulid has missed my watchlist this year, but I have a friend who was there to tell me all about it, and I’ll just trust his word: Hinulid has crisp sound. As for the other nominees, I prefer choosing as my top three choices Ang Babaeng Humayo, for its foley, also dubbed as sound editing or in layman’s terms the “making of the sound”, that sets the tone of the whole film, even in the silence that is marked by the cutting of the sound, notable in the air-videoke performance scene between Hollanda and Horacia as they were singing happily in the living room, Pamilya Ordinaryo, for capturing the rawness and grittiness of the sound of the streets and the despair that comes with it (better than Ma Rosa did), and Baboy Halas, for captivating the audience with the sounds of the forest and nature by carefully placing the microphone to record the hymn of the far-flung places deep into the woods of Mindanao and into the heart of the indigenous community.

Will win: Baboy Halas

Could win: Ang Babaeng Humayo

Best Music

And the nominees are:

Paglipay, Gian Gianan

Women of the Weeping River, Kit Mendoza

Saving Sally, Pablo Pico

Pauwi Na, Pike Ramirez, Paolo Villaluna & Veena Ramirez

Tuos, Jema Pamintuan

I’m going say this first and foremost of all: I don’t remember much of the music used in each of the nominees. To be perfectly honest, the trouble I have with this category is that music taste is completely arbitrary and different between individuals, that’s why I would assess the music by how it was incorporated into the film more than the actual score and arrangement. Probably the best scores, in my opinion, are Saving Sally and Tuos, where the former builds on a rom-com vibe whereas the latter centered on the solemnity of Filipino folk music. Narrative-wise, both scores have been blended well up to the point of karmic duty to the audience for a wonderful audio-visual experience.

Will win: Tuos

Could win: Saving Sally

Best Editing

And the nominees are:

Women of the Weeping River, Carlo Francisco Manatad

Ma Rosa, Diego Marx Dobles

Pauwi Na, Ellen Ramo & Paolo Villaluna

Ang Babaeng Humayo, Lav Diaz

Pamilya Ordinaryo, Carlo Francisco Manatad

Paglipay, Zig Madamba Dulay

Die Beautiful, Benjamin Gonzales Tolentino

I have not seen Pauwi Na but I heard that it’s good but the editing is just basic. The others in this category I definitely can comment about; however, the picks I have to place above all else are Die Beautiful, my prediction for MMFF 2016 Best Editing which lost to arguably last year’s best Filipino documentary Sunday Beauty Queen, and Pamilya Ordinaryo, which won best editing in last year’s acclaimed Cinemalaya 2017. Perhaps the better thing to say is that in my book, both could easily be tied for the position, with Die Beautiful’s non-linear editing that contributes to the power of its story-telling, and Pamilya Ordinaryo’s easy cuts from one pain to another whilst including inside the frames the poverty in the streets through the lens of CCTV camera footages; nevertheless, I placed Die Beautiful just a little ways up the road simply because I wouldn’t pass on an unconventional narrative tool that it used: telling the story in an uncouthed fashion (and give Benjamin Tolentino his Urian already! Recall his editing works in the masterpiece Transit and Dagitab, both from Cinemalaya, one from 2013 and 2014, respectively).

Will win (hopefully): Die Beautiful

Could win: Pamilya Ordinaryo

Best Production Design

And the nominees are:

Ma Rosa, Dante Mendoza

Die Beautiful, Angel Diesta

Ned's Project, John Paul Sapitula

Women of the Weeping River, Harley Alcasid

Pamilya Ordinaryo, Harley Alcasid

Paglipay, Aped Santos

Saving Sally, Erik Manalo & Rommel Laquian

Hinulid, Ryan Cuatrona & Celine Belino

Baboy Halas, Joel Geolamen

I was surprised to the core when I found out that Ang Babaeng Humayo and Seklusyon was excluded from the nominees because period dramas are raining on everyone’s parade in this category for the previous Urian awards (save for last year’s Water Lemon a surprise win for the coveted art department prize). This year, no period drama is even on that list! And there aren’t even notable winners from Filipino film festival’s Best Production Design on this very list (recall, Tuos from Cinemalaya 2016 and Tisay from CinemaOne Originals)! Excitement aside, I feel as though there are a lot of strong choices in this category, especially since I, myself, am now recalling Women of the Weeping River, the film I watched with my uncle the previous year: I never remembered it until this category and how raw it is as it boasts the narrative of land-grabbing and clan wars in Mindanao. I just have to make shots in the dark and choose as the leads Hinulid and Die Beautiful.

Will win: Hinulid

Could win: literally any film on the category because that’s how confusing this set of nominees are

Best Cinematography

And the nominees are:

Women of the Weeping River, Rommel Sales

Ang Babaeng Humayo, Lav Diaz

Ma Rosa, Odyssey Flores

Paglipay, Albert Banzon

Pamilya Ordinaryo, Albert Banzon

Baboy Halas, Raphael Meting & Mark Limbaga

Tuos, Mycko David

Yet another surprise! Ma Rosa is on the list! Why is it another surprise, one might ask. Well, the film “intentionally” mimics the shakiness of a handheld camera and puposefully does it the whole film: it being a directorial decision is just the distasteful icing on top of the cake. All the other cinematography nominees are not surprises, in contrast. However, I have to put as one of my predictions Ang Babaeng Humayo simply because Diaz placed the camera in such a way that incorporates everything that is happening within the frames of his film. Another is Tuos’ Mycko David who won best cinematography for last year’s Cinemalaya and whose works speak for themselves (Kasal (2014) and Children’s Show (2014)). And last but not the least, and my personal favorite and bet, Baboy Halas with first time cinematographer Raphael Meting and well-known director of photography Mark Limbaga; in addition, the director of Baboy Halas is the amazing Director Of Photography turned director Bagane Fiola, this film had the perfect ‘matog’ (cinematography) ensemble! And what came out is a smooth and powerful handling of the camera.

Will win: Baboy Halas

Could win: Tuos

Long shot: Ang Babaeng Humayo

Best Screenplay

And the nominees are:

Ned's Project, John Bedia

Pauwi Na, Paolo Villaluna and Ellen Ramos

Women of the Weeping River, Sheron Dayoc

Paglipay, Zig Madamba Dulay

Ma Rosa, Troy Espiritu

Patay na si Hesus, Fatrick Tabada

Ang Babaeng Humayo, Lav Diaz

Pamilya Ordinaryo, Eduardo Roy, Jr.

This is the most interesting list of nominees for best screenplay that I have seen in my years of following the Gawad Urian. We have a plethora of great narratives and great dialogue and great screenplay. Some may not be as serious as the others but that is what makes this an interesting group. I remember laughing my heart out watching the first half of the film Patay na si Hesus ironically enough since the title denotes something sad, but I was unable to finish it so I’m not so sure. Usually comedies are my choice for best screenplay and my most favorite prediction was last year’s Mercury is Mine a dark comedy which won best screenplay for Cinemalaya 2016 (and I’m still wondering why it isn’t included in this quasi-perfect list of nominees). If one checks the previous winners of this Gawad Urian category, which I did, one will find a long list of serious-toned films that boasts its narrative and characters, rather than the laughs it has given, and this year is no different (my year of predicting comedy to win this is still in hold, I am yet to look for the right opportunity). Instead we turn to Urian favorite Lav Diaz (who won around 2-3 times in this category) and Troy Espiritu who wrote for Brillante Mendoza. What we get are two amazing screenplays, one fit for the current drug war in the Philippines and one another dragging yet bountiful gender sensitive harvest from Lav Diaz. I must admit when I was watching the latter, I felt bored most of the time, but instead I focused on the dialogue and narrative. Personally, Ma Rosa would be my bet narrative-wise but there is a magic in Lav Diaz’s Humayo that speaks more than volumes and can only be understood upon watching. The other favorites of mine are Pamilya Ordinaryo and Women of the Weeping River.

Will Win: Ang Babaeng Humayo

Could win: Ma Rosa

Long shot: Women of the Weeping River or Paglipay

In an ideal world (personal favorite but I don’t think it would win): Pamilya Ordinaryo

Best Supporting Actress

And the nominees are:

Rhed Bustamante, Seklusyon

Barbie Forteza, Tuos

Sharifa Pearlsia Ali-Dans, Women of the Weeping River

Anna Luna, Paglipay

Joan Dela Cruz, Paglipay

Lui Manansala, Ned's Project

Lotlot de Leon, MRS

Meryll Soriano, Pauwi Na

Janine Gutierrez, Dagsin

Mariam Zimadar Haji Caranay Raper – Women of the Weeping River

Who would’ve thought that Barbie Forteza would be in this category? Because I’m sure I didn’t. Her acting was just simply okay in Tuos. Another unexpected nominee is Rhed Bustamante, the Maria child in Seklusyon (my wild guess as to why she’s here is because she had inappropriate lines spoken in the film yet was delivered convincingly). And, wow, look at Lotlot De Leon in this list! Her acting in MRS is as great as it sounds. Along with her on top are Sharifa Pearlsia Ali-Dans and Mariam Zimadar Haji Caranay Raper from Women of the Weeping River simply because they have a character whose sketch is written for them which they flawlessly portrayed.

Will win: Lotlot De Leon from MRS

Could win: Sharifa Pearlsia Ali-Dans or Mariam Zimadar Haji Caranay Raper from Women of the Weeping River

Best Supporting Actor

And the nominees are:

Taha Daranda, Women of the Weeping River

Christian Bables, Die Beautiful

Jess Mendoza, Hinulid

John Lloyd Cruz, Ang Babaeng Humayo

Nonie Buencamino, Ang Babaeng Humayo

Julio Diaz, Ma Rosa

Another great list of artists and first time actors alike. Julio Diaz added that rawness and grittiness of a character to identify with even though he is easily judged upon first glance. And we must not forget Christian Bables’ amazing portrayal of a pained homosexual bestfriend in Die Beautiful who is equally matched by another portrayal of a transgender by John Lloyd Cruz in Ang Babaeng Humayo. Also in this list is the magbabalut played by Nonie Buencamino whose presence in the film as a quasi-confidant is essentially one of the most important characters in the film. Another critically acclaimed character is one played by Taha Daranda who won as the best supporting actor in QCinema 2016 for Women of the Weeping River. Who do I chose?

Will win (only by a few marks from the second): Christian Bables from Die Beautiful

Could win: John Lloyd Cruz from Ang Babaeng Humayo

In an ideal world: Taha Daranda from Women of the Weeping River

Best Actress

And the nominees:

Nora Aunor, Hinulid

Laila Ulao, Women of the Weeping River

Jaclyn Jose, Ma Rosa

Cherry Pie Picache, Pauwi Na

Ai Ai delas Alas, Area

Charo Santos, Ang Babaeng Humayo

Elizabeth Oropesa, MRS

Irma Adlawan, ORO

Hasmine Kilip, Pamilya Ordinaryo

The list of nominees in this category has got me tumbling up and down, left and right, and in all impossible directions. This is the list that nailed the game and pitted the best against the best, both veteran and new. Laila Ulao from Women of the Weeping River and Hasmine Kilip from Pamilya Ordinaryo, both fresh from the new actresses pool have each won best actress categories in their main film festivals from last year. And here comes veterans Ai Ai delas Alas, used to portraying happy characters, have come in this year’s list as she played a depressed brothel-head and used up all her tears, and Cherry Pie Picache for Pauwi Na, playing a supportive mother. Best actress winners and veterans are also in this list, Irma Adlawan from Oro won in MMFF 2016 and Elizabeth Oropesa from MRS has won in Sinag Maynila 2016. In addition to those overwhelming wins, Jaclyn Jose’s Palme D’or is not some ignorable trophy for best actress too! From this pool is the multiple Urian-nominated actress Charo Santos who is yet to get an award as her ticket for this year is her acting prowess for her character Horacia in Ang Babaeng Humayo. Last but not the least, is multiple-award-winning actress Nora Aunor for Hinulid. How do I choose between them? Only God knows how. The only problem I have with this list is that Pokwang isn’t here for her convincing acting in Mercury is Mine, one of my favorite films from last year’s run.

Will win ( but, literally anyone has a great chance but my guess, which is also a long shot at best, is): Hasmine Kilip from Pamilya Ordinaro

Could win: ANYONE NOMINATED THIS YEAR FOR THIS CATEGORY!

Best Actor

And the nominees are:

Tommy Abuel, Dagsin

Bembol Roco, Pauwi Na

Garry Cabalic, Paglipay

Khalil Ramos, 2 Cool 2 Be 4gotten

Paolo Ballesteros, Die Beautiful

Ronwaldo Martin, Pamilya Ordinaryo

Pepe Smith, Singing in Graveyards

I did not expect Pepe Smith to be in this category! Add to that is the shock in knowing that Khalil is nominated for this prestigious award, not that he doesn’t deserve it but I just didn’t see it coming (at all). But what rises up from this pool, better than the rest, is Paolo Ballesteros for his rightful portrayal in Die Beautiful. And, perhaps a little inches below him , is Tommy Abuel and his protruding character from Dagsin.

Will win: Paolo Ballesteros from Die Beautiful

Could win: Tommy Abuel from Dagsin

In an ideal world: Ronwaldo Martin from Pamilya Ordinaryo

Best Director

And the nominees are:

Brilliante Mendoza, Ma' Rosa

Eduardo W. Roy, Jr., Pamilya Ordinaryo

Zig Madamba Dulay, Paglipay

Lav Diaz, Ang Babaeng Humayo

Bagane Fiola, Baboy Halas

Paolo Villaluna, Pauwi Na

Avid Liongoren, Saving Sally

Sheron Dayoc, Women of the Weeping River

Lemuel Lorca, Ned's Project

This long list is as powerful as it can get. A battle between auteur directors Lav Diaz and Brillante Mendoza against the newest wave of indie filmmakers such as Lem Lorca, Eduardo Roy Jr., Zig Dulay, and Shero Dayoc! Truly this is a spectacle. The way I would judge is not based on the narrative but instead on the director’s control over the totality of the film: how the film language is translated directly to screen, and how the elements come across each other in ominous ways. What rises above is, of course, veterans Lav Diaz, whose signature long shots, dragging yet powerful story, and a long end mark (almost 4 hours! The shortest full length he has made in his years of filmmaking) is present, and with that on the same spectrum is Brillante Mendoza’s poverty-infused narrative that coalesces the realism in each frame, and the ‘signature’ shakiness of footage (it is perplexing why he had to do this). What comes close but not quite there yet are Zig Dulay since his story speaks well to a gravity that is not so in-your-face that was achieved with just the right amount of control, and with him is Eduardo Roy Jr. and his translation of a narrative that takes courage and patience. But, it really is such a bummer than even with my analysis, as hard as I can scrutinize it in detail, the list of winners in this category is a truly unpredictable batch of individuals, underdogs, in some cases. So I would go by saying that I would rather a new director win than these veterans, and I really hope they do!

Will win: Zig Dulay for Paglipay

Could win: Eduardo Roy Jr. for Pamilya Ordinaryo

Best Picture

And the nominees are:

Pamilya Ordinaryo

Paglipay

Ang Babaeng Humayo

Women of the Weeping River

Ma'Rosa

Baboy Halas

This is my favorite award, and it couldn’t be more obvious. In choosing a best picture, I include my own personal biases as a large part in choosing rather than analysis of previous winners and that’s how I plan to choose. I base it on overall impact, social relevance, and personal taste. Instead of doing the usual would win and could win, I would rank them all in order of my predictions, one being the best of the bunch and six being theleast of the bunch.

1. Pamilya Ordinaryo

2. Paglipay

3. Ma Rosa

4. Baboy Halas

5. Ang Babaeng Humayo

6. Women of the Weeping River

Gawad Urian 2017 is happening on July 20, 2017. Catch the 40th Gawad Urian on Cinema One (SkyCable ch. 56, Destiny Cable Digital Channel 56, and Destiny Analog Ch. 37) on July 20 at 9 p.m.

Sources:

Villano, Alex. LIST: Nominees, Gawad Urian 2017. Rappler. (27 June 2017). http://www.rappler.com/entertainment/news/174023-nominees-gawad-urian-2017

Philstar.com. COMPLETE LIST: 40th Gawad Urian Official Nominees. PhilStar Global Entertainment. (27 June, 2017) http://www.philstar.com/entertainment/2017/06/27/1714143/complete-list-40th-gawad-urian-official-nominees

#OscarsSoDiverse: My 2017 Oscars Predictions

How could I begin telling you how positively different this year’s Oscar nominees are without being too dramatic? Well, I guess I would begin by saying: diversity. Yes, they have recovered quite a bit from 2016’s controversial #OscarSoWhite extravaganza and, being an avid Academy Awards fan since 2010, the year where a foreign language film won the prized Golden Statuette for Best Picture, The Artist (2012), I have been defending the Oscars from all the criticism and let me tell you: this year, I never had so much to say to defend it since the Oscars did not need the defense; they made it themselves. “How so?” one might ask. First, they have started inviting new members for the Academy, sending out more than 500 invitations to esteemed young and new actors such as Andrew Garfield (Spiderman), song writers such as Sia Furler (Zootopia), and foreign language film directors László Nemes (Son of Saul). This move was made after the criticism of the Oscars being only a “gentleman’s club”, literally, because almost 75% - 85% of the members of the Academy are, to quote the naysayers, “white old men,” hence the recruitment of a fresh new batch of women, young filmmakers, and people of color. Such a ploy paved way for a diversity in the nominee line-up: more women represented (most notable is Joi McMillon, the first ever woman, and a woman of color at that, to ever be nominated for Best Editing for the heartfelt movie Moonlight), and more people of color (Ava DuVernay for 13th). True enough, the nomination for most is not made only to show that the Oscars are noticing them, but that most of these people are also exhibiting great craftmanship in their particular field of expertise. And that, I guess, is how I begin my 2017 Oscar Predictions: an ode to the minorities now having a chance at getting the elusive and exclusive Golden Oscar Statuette.

Enough about that, I will get right into it:

Make-up and Hairstyling

Less is More, a saying most people use in their daily lives; a quote which earned a second nomination for Eva von Bahr and Love Larson (first in the work for The 100-Year old Man Whou Climbed Out of the Window and Disappeared) in their minimalistic work in A Man Called Ove (also nominated for best foreign language film) making the effect of a man losing hair and simple design through makeup as it competes with Suicide Squad and Star Trek Beyond: both big-budgeted Hollywood blockbusters whose prosthetics is extremely detailed and delicately applied. Who won me over? I think my soft spot for underdogs made me call it out: I go for the less-budgeted one.

Would Win: A Man Called Ove

Could win: Star Trek Beyond

Costume Design

Period films and fantasy films dominates this category and this year is not an exception. Period films Jackie, Allied, and Florence Foster Jenkins made it as well as J.K. Rowling’s Fantastic Beasts and Where to Find Them, whose costume were made by Oscar quasi-favorite Colleen Atwood, known for her work in Into the Woods. The surprise here, at least for me, considering the many period dramas and fantasy features came out last year, was La La Land. I don’t know about your choice but mine would have to be Jackie because of its well-woven Pink Chanel Dress, resembling the actual one Jackie Kennedy wore on the day JFK was shot in their car. What comes close is Fantastic Beasts because, well, of Colleen Atwood and her reputation.

Would win: Jackie

Could win: Fantastic Beasts and Where to Find Them

Sound Mixing

The sound categories confuse people so here’s how I go about explaining it: sound editing is the making of the sound heard, sound mixing is how it is synced/synchronized to the scenes. For this one, I went to vote La La Land for its hypnotic tap dancing sequence and, conclusively, almost every scene that had made use of those neat sound mixing. I must admit I almost went swinging my vote for Arrival for its sequences of encounter with the other-worldly creatures, but I didn’t.

Would win: La La Land

Could win: Arrival

Sound Editing

Ah yes. The sound made for film. I almost thought I would go for the simplicity of the sounds in La La Land yet there’s something about war films that takes you on a different light, hence my vote goes to Hacksaw Ridge.

Would Win: Hacksaw Ridge

Could win: La La Land

Music (Original Song)

Most people ask me why this category is here, well, it just is, I guess. This year’s feud is between two musicals: La La Land, two song nominations, and Moana, one song nomination.

Would Win: How Far I’ll Go (Moana)

Could Win: Audition (Fools Who Dream) (La La Land)

Music (Original Score)

La La Land could have swept through this category easily, having Passengers as one of its contenders but here comes the unexpected-expected Jackie, whose score was made by Mica Levi, notable for her work in Under the Skin. There is kind of a difficult choice between a musical score of an actual musical and a drama because on the one hand, you have a performed one, on the other you have one that lacks lyrics but contributes to the overall feeling and emotion of scenes.

Would win: La La Land

Could win: Jackie

Documentary Feature

The diversity in this category is spectacular: 3 of the 5 films nominated are directed or written by African-American directors and writers. One of those writers is a prominent figure in the formation of novels and literary pieces that center of African-American issues, James Baldwin (I am Not Your Negro). Another is the longest feature film to ever be nominated for an Oscar (467 mins or 7 hours), O.J.: Made in America, and one is directed the biggest snobs of the Oscars 2915 Ava DuVernay for her amazing directing for the powerful Selma, 13th. The biggest contenders are, without bias, are the 3 said films namely I Am Not Your Negro, 13th, and O.J.: Made in America. That is not to say that Fire at Sea and Life, Animated, are not great but their story, although they are equally heartfelt and sweet, is overpowered by the former. For me, the film 13th makes the more gritty and eye-opening experience for me as an individual: it’s not even about the black community anymore at some point; to me, it’s about how we view ourselves as people of a community and the role we play in it, how the institution of the powerful continues to oppress the powerless and strips them off of any of it. Moreso, it analyzes the US in its mass incarceration of criminals, mostly African-American, and how, in its history, specially during the Jim Crow, it is able to procure slavery in this particular form (I know it sounds like a propaganda but trust me, it’s not. This film is available for viewing at Netflix if you want to check it out). I am Not Your Negro is poetic for me and I don’t think the Academy would go for something like it; O.J.:Made in America is equally gritty as the 13th but it’s really too long for me. This battle is a true nail-biter.

Would Win: 13th

Could Win: O.J.:Made in America

Animated Feature

The frontrunners for this category are neck-and-neck in their fight as there are three of them. Zootopia tackled the sensitive issue of racism and community bias. Moana feels so close to people living in the Pacific (and the animation of the sea and beaches are beautiful). Kubo and the Two Strings is so beautifully animated in stop-motion that it was nominated for best visual effects. “Do I go for story or do I go for animation?” that is the question. I guess it’s high time that Laika win for their stop-motion animated feature.

Would Win: Kubo and the Two Strings

Could Win: Moana or Zootopia

Foreign Language Film

You know what wins me over almost every single time in this category? COMEDIES! And Toni Erdmann (Germany) is one! Yes. I have nothing to say other than it made me laugh so hard I almost peed my pants (kidding). However, I have to also praise The Salesman (Iran) and A Man Called Ove (Sweden) for its dramatic takes, and Land of Mine (Denmark) for a heart-crushing experience. I would also like to acknowledge the first ever film to be nominated from the Oceania, Tanna (Australia)!!!!(I’m just sad that Elle from France was not nominated in this category but I’m glad for its best actress nomination)

Would win: Toni Erdmann (Germany)

Could win: The Salesman (Iran)

Visual Effects

The Jungle Book vs. Kubo and the Two Strings is how I see this category running its course, although the other nominees, Rogue One: A Star Wars Story, Deepwater Horizon, and Doctor Strange are not to be missed. I decided to choose the realistic talking, breathing, and running wildlife animals of The Jungle Book over the gorgeous visuals of Kubo.

Would Win: The Jungle Book

Could win: Kubo and the Two Strings

Production Design

Like the costume design, this one is heralded massively by the period films and fantasy films. This year is quite different, as one period frontrunner, Hail, Caesar! is challenged by the beloved musical La La Land. The former boasts spectacular set design as it shows the peak of Hollywood’s film industry: the big-budgeted studio-shot films during the mid to late 20th century whereas the later focuses on the matching of costume design to the setting with matching light engineering. As much as I love the set design of Hail, Caesar! since I’m a film enthusiast, I would have to put my hands down for La La Land’s neat and palatable serving.

Would win: La La Land

Could win: Hail, Caesar!

Editing

Three films are winning me over here: Moonlight, its sharp editing that showed the three stages in the life of one black gay man, Hacksaw Ridge, its bold cut that showed a blood-bathed battlefield, or La La Land, its sleek edit that showed beautiful musical numbers one after the other. I went for THE musical.

Would win: La La Land

Could win: Moonlight

Cinematography

If only Lion did not win that American Society of Cinematographers (ASC) Award for Achievement in Cinematography, I would have easily went for La La Land. I thought for sure it would win now I’m having second thoughts since ASC is like the best predictor for this Oscar category. Not to set aside, also, is Silence and its picturesque visuals perfect for a somber visual experience. I hope I set my heart to the right choice. What I loved about La La Land is that it incorporated cinemascope, reminiscent of the mid-to-late 20th century camerawork and mixed it with contemporary digital cinematic maneuvers.

Would win: La La Land

Could win: Lion

*Side note: here now, are the major awards of the Oscars*

Writing (Adapted Screenplay)

Moonlight or Hidden Figures? Both great. Both spectacular. Both impactful. Do I go for the coming of age story of a gay black man or the true-to-life story that presents the African-American women behind NASA who are responsible for the test flights back in the time where there still was Jim Crow?

Would win: Moonlight

Could Win: Hidden Figures

Writing (Original Screenplay)

Among the nominees, I really had so much praise for 20th Century Women but, admittedly, it all boils down to Manchester by the Sea and La La Land. Sure you have two great stories but which one garners the coveted prize? I like Manchester because it is timid but painful since it tackles the story of death; another thing about it is that it made the characters feel so three-dimensional: like you know them as people, something far too few films have ever accomplished. On the other hand, I like La La Land because it placed a familiar story in a familiar setting yet still summon what’s so different and peculiar about it: the enigma of the story that happens in it, the sheer coldness, the sparkling sun, and yes, the interplay of the characters. In a perfect world, I hope Manchester by the Sea gets it, however, the Academy loves La La Land so much they might just let it steal this one.

Would win: Manchester by the Sea

Could win: La La Land

Best Supporting Actor

Michael Shannon has been the surprise here as he portrayed a cancer-stricken police officer. However, much has been said and much has been heard, Mahershala Ali for his performance in Moonlight is put on the pedestal and the only one seen to garner this prize. To me, Ali’s performance lingers long after he’s gone in the film: he only appears around the first 15-20mins but the impact Ali and his character portrayal has left behind trembles and creates a rippled effect that is felt even long after the film finishes, and what a stellar sighting that is.

Would (and should) win: Mahershala Ali (Moonlight)

Could win (in an imprefect world): Michael Shannon (Nocturnal Animals)

Best Supporting Actress

No one can take this prize away from Emmy and Tony award-winning character actress Viola Davis and her heartfelt portrayal of an African-American mother, wife, and companion.

Would win: Viola Davis (Fences)

Potential Spoiler: Michelle Williams (Manchester by the Sea)

Best Actor

Oh my! The true nail-biter of this year’s category is this one. Casey Affleck or Denzel Washington. I hate saying it but Affleck did a better job than Washington. The reason why there is so much fuss because of the allegations of sexual harassment by Affleck which affects his chance at winning the Oscar. The main reason, in my humble opinion, why Washington is the one in the two frontrunners is the line delivery (since the lines are almost 24 sentences long because the film is an adaptation of a theatre play).

Would win (hopefully): Casey Affleck (Manchester by the Sea)

Could win: Denzel Washington (Fences)

Best Actress

Isabelle Huppert played an assaulted corporate executive, Emma Stone played a romantic actress-wannabe, Meryl Streep played Florence Foster Jenkins, a music enthusiasts who believes she hits the perfect notes even though she doesn’t, Ruth Negga played an African-American woman shunned for her marriage with a white man (back in the Jim Crow) whose case won the right for interracial marriage in America (true story), Natalie Portman played Jackie Kennedy: who then made the most out of here role? For me, it was Portman and Huppert. For the Screen Actor’s Guild, however, it was Stone. True enough, SAG awards predict the best actress quite precisely, and they moved me to consider Stone’s performance which led me to witness La La Land for the second time and truly immerse in her portrayal, and what a spectacle it really was.

Would win: Emma Stone (La La Land)

Could win: Natalie Portman (Jackie)

Direction

I seriously doubt if anyone can argue for a better winner that Damien Chazelle of La La Land for this category. He had created such a great vision and translated it magnificently into the La La Land that we have witnessed. A craftmanship like his is unmatchable this year.

Would (definitely) win: La La Land

Best Picture

The highest award of the night for me goes to...

La La Land, not because of its hype but because of its near-perfect mixture of elements that blend well together as well as reviving an almost-forgotten genre of musical in film. The revitalization of everything in this film is fresh as it is neat. There are other great entries in this category as well, my top favorites being Manchester by the Sea, Hacksaw Ridge, Arrival, Hidden Figures, and Moonlight. The others, Lion and Hell of High Water are also both intriguing. However, there still is something about La La Land that makes it stand out above all the rest: the direction. If not for this direction by Damien Chazelle, such a film would not be possible.

There you guys go! Here are my predictions for the 89th Academy Awards. Although I am not fully confident with the predictions I wrote, I hope you have as much fun with it as I do. This year’s Oscars awards nominations give me great hope in the future of this award giving body and I hope it continues its current course. Here’s to the honoring of the best in 2016’s films! Cheers!

Watch the Oscars February 26, 2017, 5:30 PM PST (9:30 AM February 27, 2017 Manila Time)

#oscars #film #film review #movie #movie review #oscars 2017 #awards #motion picture #award #films

MMFF 2016 Predictions

photo above is from: https://www.youtube.com/watch?v=AzNbkQO4pAI

The MMFF has had a drastic change this year from choosing the films that are up for competition to removing the commercial viability in considering which film fits the eligibility. In addition, the films that were asked to be passed in the competition should have been finished ones and not just scripts like last year.

People had mixed reactions: some good some bad. Social media has boosted up this war between indies and mainstream films and almost everyone in the film industry came in to stir the boiling pot. Whatever their ideas were, they were being cranky about it, at least some of them.

I tried to pitch my predictions for this year’s MMFF awards to be held tonight, Dec. 29, 2016, and boy was it hard. I will have no doubt that these predictions would have many mistakes as it would be my first time to predict the MMFF (I am more inclined towards the Oscars or Golden Globes predictions). My opinions are solely based on my personal choices and do not reflect my organizations voice nor represent my organization as a whole.

Best Float

Okay, I will get this out in the open, this is probably the only reward that everyone can join in even if one has not been able to watch any of the films in the competition. One has simplay have to search for MMFF floats and poof everything is there.

Would win: Die Beautiful

Could win: Seklusyon

Youth Choice Award

It is my first time hearing of this award but upon my observation I think Saving Sally has that closeness with the millenials and hence connected with the youth of today. I personally did not like story of Saving Sally but it feels too close to home, to my youthfulness, to my childhood (kind of). But, you know, maybe it would be overthrown by VKJ considering that social media played a role in shaping this country’s youth, so I would go for VKJ then Saving Sally as second.

Would win: Vince & Kath & James

Could Win: Saving Sally

Best Child Performance

No buts no humdrums, Rhed Bustamante has this one up for HERSELF I TELL YOU.

Would win: Rhed Bustamante

Best Festival Sound/Sound Engineer

Sound plays a large role in shaping the films and MMFF has packed in some good a-many of these. However, I do believe that Seklusyon has the best one in store as films in the horror genre rely much on sound to bring that fright. There are times that the sound is too ringing in the ears but it still has that sense of knowing that it really is happening that way. Ang Babae sa Septic Tank 2 also has the great use of sound but I doubt it would keep up with Seklusyon.

Would win: Seklusyon

Could win (most likely): Ang Babae sa Septic Tank 2

Best Musical Score

Musical score has always been hard to predict for me since scores and soundtracks usually are hard to compare since each film has a different tone than the other one, but the score of Vince & Kath & James has that great feeling; however, V&K&J’s score is second only to Seklusyon’s chilling one.

Would win: Seklusyon

Could win: Vince & Kath & James

Best Theme Song

I cannot think of any other film in the competition that has a theme song other than Ang Babae sa Septic Tank 2 and Vince & Kath & James, and honestly, VKJ got this one.

Would win: Vince & Kath & James

Could win: Ang Babae sa Septic Tank 2

Best Make-up

No explanations needed.

Would win: Die Beautiful

Best Visual Effects

Uhmmmm…???? Hands down Saving Sally has this one, but I wouldn’t be surprised for a Seklusyon spoiler here

Would win: Saving Sally

Could win: Seklusyon

Best Production Design

Die Bautiful has a powerful set design backed up by great lighting and attention to detail. Each sequence is filled with the appropriate objects to complement the whole feeling of the film. Vince & Kath & James has a great production design as well, however, I would go for Seklusyon as the second in line because it was made as a period horror film.

Would win: Die Beautiful

Could win: Seklusyon

Potential Spoiler: Vince & Kath & James

Best Editing

I don’t know about this part. Editing for me relies more on the cuts and the transitions rather than the application of visual effects (since it has its own category) but the awards circle has been talking much about Saving Sally as being the most powerful contender in this category. Still, I would vote for my beloved Die Beautiful as its totality neede sleek editing considering it is nonlinear. My second choice would bea Sunday beauty Queen as it delivered a touching story by its editing.

Would win: Die Beautiful

Could win: Sunday Beauty Queen

Critics say: Saving Sally

Best Cinematography

This category puts me in a difficult situation: do I go for the great dynamic camera work of do I go for the great static one? Saving Sally sure did well as a steady camera but the camera work in Sunday Beauty Queen is spectacular. Well, I chose to go with Saving Sally as the cinematography also includes the picturesque visual of the film.

Would win: Saving Sally

Could Win: Sunday Beauty Queen

Best Original Story

Is Sunday Beauty Queen even eligible in this category? I don’t know but I would make a wild guess that it is. If not, well, Seklusyon has one great hell of a story.

Would win: Sunday Beauty Queen

Could win: Seklusyon

Best Screenplay

Ahhhh my favorite category of them all. Sure there are great stories but it takes a great script to become one great film. Die Beuatiful is the most interesting script I have seen not only in the dialogue but also in its attention to a nonlinear storyline that still maintains a consistency in story. I have nothing else to say. I would rally out if it does not win this ½ joking.

Would win: Die Beautiful

Best Director

Jun Lana delivered Die Beautiful quite well than others but Erik Matti’s direction in Seklusyon is something I would not take away from him. I still am confused as to who I am going to go for but I would go for Jun Lana.

Would win: Jun Lana (for Die Beautiful)

Could win: Erik Matti (for Seklusyon)

Best Supporting Actor

Christian Bables as Barbs in Die Beautiful is absolutely stunning. What a stellar performance!

Would win: Christian Bables

Could win: ????

Best Supporting Actress

I pick Mercedes Cabral’s performance over Phoebe Walker’s Sister Cecilia over here. Mercedes delivered such a convincing acting a a soon-to-be-mother who fought for her rights.

Would win: Mercedes Cabral

Could win: Phoebe Walker

Best Actor

PAOLO WINS NO DOUBT

Would win: Paolo Ballesteros

Could win: Joshua Garcia

Best Actress

I was thinking about it really hard and I though Irma did not show up in most sequences so I thought she was not eligible for best actress, but apparently she is. Besides, if she does not win, Eugene Domingo deserves that trophy.

Would win: Irma Adlawan

Could win (if Irma is not eligible): Eugene Domingo

Gatpuno Antonio Villegas Cultural Award: Die Beautiful

FPJ Memorial Award: Oro

And I base my best picture ranking upon my personal biases and I hope for them to actually win the awards.

3rd Best Picture: Die Beautiful

2nd Best Picture: Oro

Best Picture: Sunday Beauty Queen

#mmff2016 #i support mmff #maraming maganda filipino films #predictions #films #film #film review #movie #movie review #film festival #philippines #filipino #gawang pinoy #metro manila

Oscars 2016 Predictions (Unfinished: elaboration comes later)

Best Picture Would Win: The Revenant (2015) Could Win: Spotlight (2015) Best Director Would win: Alejandro G Iñnaritú Could win: George Miller Best Actor Would win: Leonardo DiCaprio Could win: Michael Fassbender Best Actress Would win: Brie Larson Could win: Care Blanchett Best supporting actor: Would win: Tom Hardy Could win: Sylvester Stallone Best supporting actress: Would win: Alicia Vikander Could win: Roonie Mara Best original screenplay Would win: Spotlight Could win:Inside Out (2015) Best adapted screenplay Would win: Room (2015) Could win: The Big Short (2015) Best cinematography Would win: The Revenant Could win: The Martian Best editing Would win: The Big Short Could win: Mad Max: Fury Road Best animated feature Would win: Inside Out Could win: Boy and the World Best costume design Would win: Mad Max:Fury Road Could Win: The Danish Girl Best production design Would win: The Danish Girl Could Win: The Martian Best makeup Would win: Mad Max: Fury Road Could win: The Revenant Best visual effects Would win: The Martian Could win: Star Wars VII Best original score Would win: The hateful Eight Could win: Star Wars VII Best sound mixing Would win: The revenant Could win: Star Wars Best sound editing Would win: The Revenant

#oscars #oscars 2016 #predictions

Most movies can only reach a certain amount of that emotional grip, but Room (2015) surpasses that, and achieves a level that can only be described as exceptional. Everything about this film is what I was looking for in a melodrama: the believable characters, the well-established grounds, and the great plot.

To be perfectly honest, I was expecting Room (2015) to be “just another one of those Oscar nominated movies” but well, I was mistaken. I was taken aback when the film struck my core with its surprise. I do not want to actually spoil the movie, but I just want to say that I was shocked that the film packed some unexpected punches in its sleeve. Few melodramas actually maintain that sort of consistency of engrossing its audience with the story itself; however, let me tell you, Room (2015) is different. From start to finish, I never felt drowsy nor bored in any such way; Room (2015) maintains an atmosphere that perfectly balances drama and perspective. Drama is where Joy (Brie Larson) is involved, whereas perspective is where Jack (Jacob Tremblay) is involved.

I was especially touched by the narration by Jack; every word and sentence felt genuinely from his youthful mind and heart. The idea that Jack’s point of view is laid out evenly across the film is remarkable. It was like raisins in a bun, only, the raisins were placed where they really should’ve been. As for the rest of the narrative, I, too, was engrossed. There is a certain point where every detail of the narrative is so well-thought out that you might think “Wait, is this based on a true story?” because that is what it really feels like.

I highly recommend Room (2015) to everyone. It is a bittersweet confection that touches and breaks the heart simultaneously, enough for one to be perplexed, but satisfied at the same time.

9.5/10

#film #film review #movie #movie review #room 2015

As teeth-grinding and gritting as it is, The Revenant (2015) struggled to keep its course through its formula of combining a display of nature shots that instigate a more realistic feel into it and a storytelling that is composed of a lone man’s strife to survive amidst his fatal injury.

Glass is a hero who saved (some of) his people a dragged them out of a burning pile of wood that is their previous home. Being away from the enemies that caused such a tragedy, Glass maintained his group of salvaged men into the woods which he knows at the back of his head. Unfortunately, Glass had a bloody encounter with a wild grizzly which inflicted him with the said fatal injury. And this particular man is portrayed by Leonardo DiCaprio every so perfectly. Although most of his dialogues and monologues were inaudible, DiCaprio exuded a performance that speaks louder than words. I especially love Glass’s reminiscent memories of his wife and son which touched my heart, and DiCaprio showed how much these memories feels so genuine.

The film started with a heart-pounding pace that instilled shocks and gasps all throughout the beginning. However, it got dragging as it progressed.I cannot quite explain how it was dragging, maybe it’s the structure of the narrative or the screenplay itself. Plot developments were unevenly spliced between beatiful nature shots. It captured every sequence ever so masterfully, as expected from Lubezki, whose particular signature dynamic long shots are at play, reminiscent of Birdman (2014). I loved that the shots captured the very feeling of each sequence, from the sheer coldness to the relieving warmth of fire. The wide angle shots were a fountain of vivid imagery and a bleak but powerful color palette. Through the wide angle shots and close up shots, one can notice the great attention to detail.

But upon closer inspection, The Revenant seems to possess a rather peculair state because even though the plot developments were far apart, it is effective in that it wanted you to sit through it more and more. It is hypnotic, if I may add, because I never wanted to take my eyes off the screen.

I expected so much more from the film than just this, but, I don’t think it could’ve been made worse, and neither is it perfect the way it is. I think it needs a little more polishing in terms of editing and choice of sequences. All in all, The Revenant is a gritting experience and one that is unforgettable, although it suffers from a tiresome display of unnecessary shots and mundane tasks.

8/10

#film #film review #movie #movie review #the revenant

When Marnie Was There (2013) is the kind of movie that has a simple story that is truly engrossing, engaging, and heart-warming, to say the least. Its narrative is somehow refreshing to watch. It is both a drama and a feel-good movie.

What I loved most about it was that it’s not only a story about Anna’s emerging sexuality, that is, her being a lesbian, but also a story of how she finds her emotions to show and memories to recollect. Anna’s simple adventure in the town of her aunt and uncle, the Oiwas, is small yet big, figuratively. Although we see Anna’s days composed of somehow repetitive structures, it suddenly becomes bigger than it actually is, in a good way. There is a sense of knowing what Anna really feels and how she wants to handle it. We witness, as the movie progresses, how Anna accepts or rejects what she seems to see.

Along with amazing animation, as expected from Studio Ghibli, is the sotthing music. It is a staple is almost all of Ghibli’s films and When Marnie was There (2013) received no such exemption from such. Each scene is perfectly jiving with every woodwind and string insturument that plays.

Truly, When Marnie Was There (2013) is a one of a kind story that not only involves escaping problems but also about finding oneself, challenging things as they are or seem to be, and facing ghosts from the past.

9/10

#film #film review #movie #movie review #when marnie was there

Shaun The Sheep (2015) Movie Review

Shaun the Sheep Movie (2015) is a refreshing treat both for children and adults alike. The claymation style of animation is reminiscent of the studio’s previous offerings Wallace and Gromit and Chicken Run, yet it still feels somewhat different from them.

Although, admittedly, I haven’t watched the cartoon series it was based on, Shaun the Sheep seems to have quite the sensible humor, one that is absurd yet consistent. The narrative also is impressive, at least for me. Shaun the Sheep faced another adventure involving his band of anthropomorphical animal friends, Spitzer, the Dog, and the farmer, as they set out from Mossy Bottom to The Big City. A hit in the head induced a temporary memory loss upon the Farmer and he has forgotten who he was, and it’s up to Shaun the Sheep, and his mob of lively sheep, to save him.

I admired how the film incorporated the theme of animal-human bond all through out the film. Rarely do I witness such a theme being visited, at least in mainstream cinema. It has always been a somehow uninteresting one for filmmakers as they refuse to tackle it.

What I like most about the story is that it is simply sweet. The turnout of events were funny in some, and touching in some. I notice a well-laid out story that does not hold back on its humor, in reference, as my friend told me, keeping in touch with its signature brand of slapstick.

The sleek animation is wonderful. It took the stop motion animation into a whole new level with surprise new addition to its features, at least from what I’ve seen, one in particular is the water splash that seems almost like a claymation more than CGI. The display of basic sequences are a visual treat. Accompanying this beautiful style is a nice touch of background music, some new, some, in reference, again, to the series’ original theme song. Again, although I’m not familiar with it, the song seems pretty solid in terms of appropriateness with the scenes.

In the end, Shaun the Sheep Movie (2015) became a somewhat reminiscent and wonderful experience. Thanks to its great animation and unforced type of humor, Shaun the Sheep might just be one of the best stop motion movies to ever hit the big screen.

9.5/10

#movie #movie review #film #film review #shaun the sheep #shaun the sheep movie

everythingisterrible

Admirable and charming in its masterful animation but bland in its story-line, Anomalisa (2015) is a refreshing new film from writer/director Charlie Kaufman that reaches a human level, but presents it ever so silently and smoothly.

It is about British Michael who goes to Cincinatti for a talk about customer service. He shelters on a wee hotel where he meets Lisa, who he spends the night with.

The all familiar narrative is what I’ve seen in so many films before, but what separates Anomalisa (2015) from that is its incorporation of stop motion animation. Never before have I seen such display of adult themes on animation. That is what I came to see in Anomalisa (2015), the expectation of something new. Apparently, it stops right in its animation. The visual delight is accompanied by a plain story with plain characters and an egoistic protagonist. I never seem to understand the main character’s dilemmas with his life and his immediate lust for a younger body. To me, Michael seems to be the sort of average one-night-stand guy and a weak one in that he is ready to ditch his family to be with a woman she met only for the first time. What’s more, the people he listens to all sound the same in that the monotony of it all seems odd to me.

When I finished it, I felt empty. It’s like I never liked Michael at all. Everything he is is just ugly. I am actually having mixed feelings over its plot.

In the end, I think Anomalisa (2015) is skillful in its use of animation and its story is good, but not great. I wish there was something more than just this.

6/10

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Being John Malkovich (1999), although it begins enigmatic and in a somewhat odd manner, resurfaces from its inconsistency in the first half into an epiphanic second half which takes on a higher road that re-imagines its own story and takes its to a different level of consciousness.

A true artist in the unconventional and under-appreciated art of puppetering, Craig goes through on life with a mid-life crisis of whether or not to follow his passion, or simply look for a job that is more practical. He is convinced by his wife Lotte to find a job; luckily, he stumbled upon a Lestercorp advertisement on a classified ads section of a local newspaper who is “looking for a man with fast hands”, to quote the movie. To his surprise, well, subtle surprise, Lestercorp is located at an oddly inconvenient floor, floor 7 1/2. He was hired a filer whose hands work swiftly through each file and page he’s working on. After a while, Craig discovers a secret “trap(?)” door in his wee office (kind of resembles Coraline (2009) and her door). The said door is one which leads inside the head of famous actor John Malkovich. Once inside, a person is able to see the world through the eyes of John Malkovich himself.

What I encounter in this film is a blend of odd relationships and utterly illogical circumstances. Well, the premise itself is absurd and unrealistic so why would I expect more from it anyway. Throughout the film, there are scattered philosophical questions and, being a philosophy major myself, became quite drawn into it. Nevertheless, the turn out of events are just ugly, and when I say ugly I mean really ugly. Towards the second half, the story becomes more interesting. The interplay with the characters and the premise itself is exciting. Without giving off too much, its twist is something that I most certainly engrossed into.

As for the performances, I didn’t seem to see such compelling ones, even John Malkovich himself. I might not have been accustomed to such acting but I never liked any of them. It is just plain same old same old!

One thing I liked about this movie is its beautiful captures of puppeteering, The dolls look alive and do not look as if someone was controlling them at all! That one’s really surprising. In addition, it was accompanied by a suitable score that fits every emotion it evokes, whether tense or dramatic.

Being John Malkovich (1999) spells a difference with its surprisingly well-written story and draws a more complex one towards its second half, far better than its first.

My Rating: 8/10

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Let's get Pushing Daisies back!

Pushing Daisies fans!!!! I NEED YOUR HELP!!!

I’m going to set up a petition to get Pushing Daisies back! To prove that it can be popular if it comes back!! So I really want to get as many of you guys to help me! Maybe if we can show that it would be successful it might get the ball rolling!

If you could i would appreciate it if you could sign: THIS

I have also created a Pushing Daisies Revival facebook page! Click HERE and like the page! I will be updating it, if/when updates about Pushing Daisies comes about!

I am deadly serious (haha, ‘deadly’ get it?) about getting Pushing Daisies back, I’ve been pining for this show since it ended in 2009 and it only just occurred to me yesterday while having a Pushing Daisies marathon that maybe I can help. I mean yes maybe doing this may not work but it’s worth a shot!

Pushing Daisies was one of a kind, a beautiful, cute, sweet, and special show. There are many shows on the air now that, not to be mean, tell the same story. Unlike Pushing Daisies which was it’s own show. It had a little bit of everything, comedy, romance, crime, drama, fantasy and thanks to the flawless Kristin Chenoweth and Ellen Greene musical moments!

Please REBLOG this post to help spread the word! Thank you.

Let’s see if we can get Ned to touch Pushing Daisies and bring it back to life!