Awards Season 2020: The 92nd Academy Awards

Well, colour me surprised! Always nice to have a curveball or two, considering a lot of the awards seemed to be foregone conclusions. Prior to Best Director, the biggest surprise of the evening was Le Mans '66 winning for Best Film Editing!

I really liked the opening number by Janelle Monáe (with a lovely cameo by Billy Porter). There were a few funny one-liners between Steve Martin and Chris Rock (especially with the pointed comment that the Oscars don't have a host because of Twitter) but it went on a bit too long. But, like last year, having no overall host worked well. 

As usual, some of the interactions between some of the individual hosts was patchy (Diane Keaton seemed on a different planet, whilst Kristen Wiig and Maya Rudolph, Will Ferrell and Julia Louis-Dreyfus, and James Corden and Rebel Wilson were just painful [although Corden and Wilson started off well taking a potshot at Cats]) but others were better: Mahershala Ali was great announcing the Best Supporting Actress category as was Olivia Colman announcing Best Actor, Ray Romano and Sandra Oh actually made me lauigh out loud when they presented Best Make-Up & Hairstyling, and Tom Hanks showed a great amount of humour when he announced that the long-awaited Academy Museum will open on December 14, 2020. If I ever make it to LA, I'll definitely look it up!

The musical performances were particularly noteworthy this year: there was a fantastic performance by Idina Menzel and an international cast of Elsa voice actors for Frozen II's 'Into The Unknown', and there was a fabulous montage about movie music which led to a powerful performance by Eminem performing his Oscar-winning Original Song 'Lose Yourself' from 8 Mile that brought the audience to their feet. Cynthia Erivo gave a soulful performance of 'Stand Up' from Harriet. I also particularly liked the energetic medley of the Best Original Score nominees, conducted by maestra Eímear Noone (the first time a woman has conducted at the Oscars in its 92 year history). There was also a very touching performance by Billie Eilish during the In Memoriam section. 

On to the awards themselves.

So, in my predictions, I got 4 out of 6. Got the acting categories right. Like many, I expected 1917 and Sam Mendes to win but there was something quite lovely about seeing both Parasite and Bong Joon Ho win; Bong's Best Director acceptance speech was very touching, especially the bit about splitting the award between all five nominees. Parasite made Oscars history by becoming the first film not in the English language to win Best Picture; it's also the first film from South Korea to be nominated for the newly-renamed Best International Feature Film and also to win it! 

Hildur Guðnadóttir also made Oscars history by becoming the first Icelandic person to win an Oscar, taking the Best Original Score for Joker. Her acceptance speech was quite lovely as well. I thought it was very touching that Elton John and Bernie Taupin won Best Original Song for Rocketman, celebrating their partnership of over 50 years. 

In his acceptance speech, Brad Pitt rightly mentioned the work of the stunt crews (and they really should have an award for that). There was a wonderfully humble speech by Best Documentary Feature winner Julia Reichert, giving proper respect to her fellow nominees which was nice. I was absolutely chuffed at Roger Deakins' win for Best Cinematography for 1917; an incredibly well deserved win. 


Below is the full list of winners at the 92nd Academy Awards:


Best Motion Picture of the Year: Parasite

Best Actor: Joaquin Phoenix (Joker)

Best Actress: Renée Zellweger (Judy)

Best Supporting Actor: Brad Pitt (Once Upon A Time... In Hollywood)

Best Supporting Actress: Laura Dern (Marriage Story)

Best Director: Bong Joon Ho (Parasite)

Best Original Screenplay: Bong Joon Ho and Han Jin Won (Parasite)

Best Adapted Screenplay: Taika Waititi (Jojo Rabbit)

Best Animated Feature Film of the Year: Toy Story 4

Best International Feature Film of the Year: Parasite

Best Cinematography: 1917

Best Film Editing: Le Mans '66 [a.k.a. Ford V Ferrari]

Best Production Design: Once Upon A Time... In Hollywood

Best Costume Design: Little Women

Best Makeup and Hairstyling: Bombshell

Best Original Score: Joker

Best Original Song: '(I'm Gonna) Love Me Again' (Rocketman)

Best Sound Mixing: Le Mans '66 [a.k.a. Ford V Ferrari]

Best Sound Editing: 1917

Best Visual Effects: 1917

Best Documentary (Feature): American Factory

Best Documentary (Short Subject): Learning To Skateboard In A Warzone (If You're A Girl)

Best Animated Short Film: Hair Love

Best Live Action Short Film: The Neighbors' Window

In terms of how many awards won by each film, it's quite an even spread; all bar one of the nine Best Picture nominees took home at least one Oscar apiece. Parasite is the big winner of the evening, winning four awards, with 1917 taking home three. 

Despite multiple nominations, The Irishman, Harriet, The Two Popes, Pain And Glory, and Star Wars: The Rise Of Skywalker all walked away empty-handed. Given that The Irishman was one of the most nominated films (10 nods, and the only Best Picture nominee not to win anything), that must smart somewhat. 

Congratulations to all winners!


Now if you'll excuse me, it's 5:15am in the UK and I could really do with some sleep... Hopefully that cafetiere of strong coffee I had around midnight won't stop that happening. 

Awards Season 2020: Tez's Official Oscar Predictions

Tonight, the great and good of Hollywood will convene to celebrate the best of film-making in 2019 at the 92nd Academy Awards.

As with last year, there will be no main host again this year. Personally, I liked this approach. It cut down unnecessary faffing around and brought the runtime of the show down to a manageable three-and-a-bit hours. OK, some of the guest presenter 'banter' was dreadful but that's par for the course with things like this. Last year opened with Queen and Adam Lambert absolutely smashing it, so hopefully there'll be a similar high-energy start to tonight's proceedings.

It has become a tradition for me to predict the nominations and the winners in the main six categories (the four acting categories, Best Director and Best Picture).  I've done this since 2003 with varying degrees of success. Last year, I got 4 out of 6 (as Olivia Colman and Green Book took the respective prizes, instead of Glenn Close and Roma). I have a feeling there'll be less of a surprise tonight...

So, without further ado, here are my predictions for who will win.

Best Supporting Actress: Laura Dern (Marriage Story)

With a SAG Award, Critics' Choice Award, BAFTA and Golden Globe already in the bag for her role as divorce lawyer Nora Fanshaw, it's going to be unlikely to hear anyone else's name. And rightly so. Dern's performance is superb (in a film full of superb performances); her amazing rant about the disparity between mothers and fathers- that women are meant to be perfect and woe betide if they're not, whilst men can get away with being lazy parents- is a particular highlight. Dern doesn't play a stereotypical hard bitch- she's warm, empathetic, but totally committed to getting what's right and fair for Nicole (Scarlett Johansson).

Best Supporting Actor: Brad Pitt (Once Upon A Time... In Hollywood)

I'll be honest with you: I didn't rate Once Upon A Time... In Hollywood at all. I found it overlong, self-indulgent and fairly offensive in places. And, with further honesty, Pitt's performance as stuntman Cliff Booth who may (or may not) have killed his wife is easily my least favourite of the five that have been nominated. But, like Dern, he's swept the boards so it feels like it's his turn.

Best Actress: Renée Zellweger (Judy)

Whilst the film itself is a bit patchy and several scenes just feel too fantastical or made-up, there's no denying that it's a powerhouse performance by Zellweger as the incomparable Judy Garland. Playing Garland's insecurity and passion to the hilt, it's the kind of performance that Oscars are made for. It never feels showy or look-at-me-I'm-acting-ma, Zellweger disappears into the icon and gives her life.

Best Actor: Joaquin Phoenix (Joker)

I would dearly, dearly, DEARLY love Jonathan Pryce's name to be read out in this category but I don't see it happening. As with all of my other acting predictions, Phoenix has swept the awards boards so it feels like a bit of a foregone conclusion. Despite what I think about the film (and my opinions on it are well known if you read the blog or listen to the podcast), I do concede that Phoenix puts in a committed performance as stand-up comedian Arthur Fleck who becomes the Clown Prince of Crime. Is the film deserving of this accolade? I'm not sure. Is Phoenix? Yes. 

Best Director: Sam Mendes (1917)

Best Picture: 1917

Aside from sharing the Critics' Choice award with Bong Joon Ho, Mendes has been the standout winner in the director category for 1917, scooping the Golden Globes, the BAFTA and (importantly) the Directors' Guild Award. Again, it feels like a foregone conclusion for him to snag his second Best Director Oscar (20 years after winning for American Beauty). 

The lack of a Best Film Editing nomination for 1917 feels egregious, because a lot of the work of making it look like a single take is done in the editing suite, but veteran cinematographer Roger Deakins thoroughly deserves his nod (and deserves to win). As a film, 1917 isn't just style over substance; you're on the soldiers' side as they race against time to stop a battalion from walking into an ambush. Buoyed up by a stellar cast (including Colin Firth, Andrew Scott, and Benedict Cumberbatch), these are [or should be] star-making roles for George Mackay and Dean-Charles Chapman. The film is technically assured and has a heart behind it. It would be a truly deserving Best Picture winner.

Hopefully I'll be watching the broadcast live in the early hours of Monday morning, and I'll post as soon as I can with my thoughts about the ceremony and all the winners.

Awards Season 2020: BAFTA Film Awards Winners

So, as it turns out, I didn't get to see the BAFTA Film Awards until this morning. 

Therefore, it was yesterday evening (2nd February 2020), at the Royal Albert Hall, that the 73rd British Academy Film Awards were given out in a star-studded ceremony, hosted by Graham Norton, hosting for the first time. 

Saoirse Ronan, Al Pacino, Hugh Grant, Quentin Tarantino, George Mackay, Robert De Niro, Sam Mendes, Daniel Kaluuya, Florence Pugh, Taron Egerton, Charlize Theron, Naomie Harris, Richard E. Grant, Gillian Anderson, Jonathan Pryce, Zazie Beetz, Ian McKellen, Scarlett Johansson and Margot Robbie were among some of the stars in attendance to celebrate the best in film.

Here's a full list of BAFTA winners:

Best Film: 1917

Outstanding British Film: 1917

Leading Actor: Joaquin Phoenix (Joker)

Leading Actress: Renée Zellweger (Judy)

Supporting Actor: Brad Pitt (Once Upon A Time... In Hollywood)

Supporting Actress: Laura Dern (Marriage Story)

Director: Sam Mendes (1917)

Original Screenplay: Parasite

Adapted Screenplay: Jojo Rabbit

Outstanding Debut By A British Writer, Director Or Producer: Mark Jenkin (writer/director), Kate Byers and Linn Waite (producers) (Bait)

Animated Film: Klaus

Documentary: For Sama

Film Not In The English Language: Parasite

Cinematography: 1917

Costume Design: Little Women

Editing: Le Mans '66 [Ford V Ferrari]

Make Up And Hair: Bombshell

Original Music: Joker

Production Design: 1917

Sound: 1917

Special Visual Effects: 1917

Casting: Joker

Short Animation: Grandad was a romantic.

Short Film: Learning To Skateboard In A Warzone (If You're A Girl)

Rising Star: Micheal Ward

Outstanding British Contribution To Cinema: Andy Serkis

BAFTA Fellowship: Kathleen Kennedy

The usual names in the usual positions. I don't think there'll be many surprises come Oscar night. This isn't to denigrate any of the performances as they are all engaging (even if the film around them is shonky). This is the first year that BAFTA have recognised achievement in film casting. It's an incredibly important part of the movie-making process, yet it feels egregious that there's still no recognition for stunt work or vocal performances. This should be sorted. 

1917 was the big winner of the night, with seven BAFTAs (all very well deserved). Joker got three, and Parasite got two. Despite multiple nominations, The Irishman, The Two Popes, Rocketman and Star Wars: The Rise Of Skywalker all walked away empty-handed. 

Congratulations to all winners!


This coming weekend (8th-9th February) will be busy, as it's Oscars weekend. Before that though, there's the Independent Spirit Awards ceremony and the Razzie nominations. Busy, busy, busy...

Awards Season 2020: Golden Globes Winners

Last night (Sunday 5th January 2020), the Hollywood Foreign Press Association (HFPA) announced the winners of the 77th Annual Golden Globe Awards, for both television and film, in a ceremony hosted by Ricky Gervais for the fifth (and possibly final) time.

Here is the full list of film winners.

Best Motion Picture (Drama): 1917

Best Motion Picture (Musical or Comedy): Once Upon A Time... In Hollywood

Best Director: Sam Mendes (1917)

Best Actor (Drama): Joaquin Phoenix (Joker)

Best Actor (Comedy or Musical): Taron Egerton (Rocketman)

Best Actress (Drama): Renée Zellweger (Judy)

Best Actress (Comedy or Musical): Awkwafina (The Farewell)

Best Supporting Actor: Brad Pitt (Once Upon A Time... In Hollywood)

Best Supporting Actress: Laura Dern (Marriage Story)

Best Screenplay: Quentin Tarantino (Once Upon A Time... In Hollywood)

Best Original Score: Hildur Guðnadóttir (Joker)

Best Original Song: 'I'm Gonna Love Me Again' (Rocketman)

Best Foreign Language Film: Parasite

Best Animated Feature Film: Missing Link

Cecil B. DeMille Lifetime Achievement Award: Tom Hanks


Once Upon A Time... In Hollywood was the big winner of the night with three Globes, with 1917, Rocketman and Joker with two apiece. Absolutely nothing for The Irishman, which is interesting. 

A couple of nice surprises- Missing Link winning Animated Feature over Frozen II and Toy Story 4, and Taron Egerton getting the Best Actor (Musical/Comedy) for Rocketman, particularly. Acting awards for Zellweger, Pitt, and Dern shore them up nicely for a potential Oscar win, although it's never actually a guarantee. 

It was an evening of firsts: Parasite became the first Korean movie to win the Best Foreign Language Film Golden Globe, whilst Hildur Guðnadóttir becomes the first solo female winner of Best Score, and Awkwafina is the first actress of Asian descent to win the Best Actress (Musical/Comedy).

Congratulations to all winners!

There'll be more awards news a little later today with the announcement of this year's Writers Guild Awards. 

Review: The Big Short (UK Cert 15)

Based on a non-fiction book by Michael Lewis and co-written and directed by Adam McKay (Anchorman), The Big Short tells the story of some of the people who saw the impending collapse of the American housing market in 2008 (which subsequently plunged the world economy into difficulties). These include Dr. Michael Burry (Christian Bale), a hedge fund manager whose head for numbers first discovered the shady dealings which would eventually lead to the housing collapse; amoral trader Jared Vennett (Ryan Gosling), who found Burry's proposal and decided to make a killing on it; perpetually angry hedge fund manager Mark Baum (Steve Carell) and his team who get introduced to the deal by Vennett via a wrong number call, and a pair of wet-behind-the-ears investors (John Magaro and Finn Wittrock) who are mentored by a retired banker, Ben Rickert (Brad Pitt). 

Performances are generally good. Bale gives a quirky, if slightly mannered, performance as Burry, the mastermind behind the 'short' (essentially betting against the banks). Gosling is assured and strangely likeable as the self-interested, slick Vennett. Carell's performance is maybe the strongest as Baum, angry at the venal self-serving arrogance of the banks and their practices.There are two great supporting turns by Melissa Leo as a ratings agency employee who calls Baum out on his hypocrisy and Marisa Tomei as Baum's wife who helps him through a personal tragedy.

There's a lot I didn't like about the film and most of it is stylistic. I didn't like the breaking of the fourth wall constantly (which I felt detracted from the flow of the story). There are a couple of celebrity cameos to explain some of the more technical points or jargon of the finance world, although they feel shoehorned in and- in the case of Margot Robbie in a bubble bath- slightly exploitative. There's also one of the most blatant pieces of sexposition (ie. setting an important piece of dialogue in a sexual context) when Baum and his team visit a bunch of strippers to explain that things are about to go tits up (excuse the pun). A tighter script could have easily explained these points without resorting to a Family Guy style cutaway. 

There are flickers of social commentary and the impact that the banks' recklessness would have. An investigation of an unoccupied housing estate in Florida, where people fled as soon as the eviction notices came in, and a conversation with a tenant who was about to lose his home and not even know it is powerful. Brad Pitt gets a slightly heavy-handed speech about the fact that, if his traders are right and cash in on the collapse, it's at the expense of people's jobs, homes and pensions. The final voiceover by Vennett explaining what actually happened- the bailouts, the bankers avoiding jail (only one banker faced jail time)- and some end-text which explains that the banks are starting to pull the same shit under a different name leaves a bad taste in the mouth.

Having watched the film over the weekend, I'm still at a bit of a loss to describe my reaction to it. It's being marketed as a comedy but I can count on the fingers of one hand the amount of times I actually laughed; it's also a biographical drama but it's a bit too slick and flashy. I'm also quite struggling to get the point of it all as well. The American economy went to hell in a handbasket in 2008 and caused ripples that are still being felt in the world today. We know this; we've lived it. The shady dealings of the banks and their monumental arrogance that they either a) wouldn't get found out or b) refused to acknowledge that the entire business was built on shoddy foundations is well documented. 

The film doesn't have the satirical bite of something like The Wolf Of Wall Street and it doesn't get sufficiently angry about the various injustices that the crisis unearthed. A bit of a disappointment.

Rating: 3 out of 5

Tez