Transcendence (Pfister, 2014)

While a lot of people credit the look of a film to the director, it's actually the cinematographer who deserves a lot more attention. However, the director's unique visual style as an autuer earns rightful praise because of the way the director helps the director of photography (DP) to shoot the picture. Christopher Nolan, for example, always made his films with cinematographer Wally Pfister, the Oscar-winning DP who has filmed most of the director's main projects (including Inception, The Prestige, Memento, and The Dark Knight Trilogy)  I've always wondered what a famous cinematographer would do with his own control of the direction, to see who actually creates the works we all love. Does Wally Pfister's direction of the photography make Nolan movies so incredible and epic, or is it the director's hand that masterfully combines all the elements to create a one-of-a-kind show?

Transcendence, Wally Pfister's directorial debut, proves that it takes more than firm control of the camera to make a movie. 

Overly melodramatic and achingly slow, Pfister's sci-fi tale is neither innovative nor interesting. He takes pre-established fears of technology and tries to say something powerful, but ends up falling flat when he finally gets to the message. Despite looking quite nice, the film suffers from a god-awful screenplay and a painful performance from Johnny Depp. 

Transcendence begins with a technological conference, where Will Caster (Johnny Depp) is the keynote speaker. He's an ingenious programer that dreams of a future filled with highly advanced artificial intelligence. Along with his wife Evelyn (Rebecca Hall) and best friend Max (Paul Bettany),  Will works to create that world. But after the conference, Will is shot by an unnamed terrorist who is part of an organization that seeks to disconnect society's dependence on technology. Fearing life after her husband's death, Evelyn proposes that they upload Will's consciousness into a computer. 

Despite objections from Max, they go through with the plan and give the machine all that Will is. When he dies, they find themselves face-to-face with the machine, who seemingly has the memories and knowledge of their old friend. But (shocking!), things start to go wrong as Will gains power and network access. Transcendence then turns into a technological fable, which teaches us that eventually we will grow so dependent on blah blah blah blah blah. 

Audiences have heard the same song and dance routine before, and there's nothing that makes Transcendence different from, say, 2001: A Space Odyssey, I, Robot, or The Matrix. Those movies all brought something new to the table, which Pfister does not really do here. The plot is beyond cliched, and the crappy dialogue only adds to the writer's nightmare. 

The cast does their best to work with what they're given, and Morgan Freeman, Paul Bettany, Cillian Murphy, and Kate Mara give typically good performances. Rebecca Hall is the only bright star here, showcasing real emotional trauma and the questioning of morals. It's a shame she has about as much chemistry with her screen husband as Padme and Anakin do in the Star Wars prequels.

Johnny Depp gives a hurtfully lackluster acting "job" in Transcendence, literally just going through the motions and reading his lines from one scene to the next. We feel nothing for him- no empathy, no sympathy, no resemblance of a connection whatsoever. It's the type of work viewers expect from a high school theater show. Plus, the chemistry between Will and Evelyn, which is so integral to the understanding of the movie, is so bad it feels worse than fake. We cannot believe a love story where there's more passion between a lawn mower and grass. Depp is plain flat, uninteresting, and most of all disappointing. I'm a huge fan of the actor, but this was the first time I truly disliked his work. 

Visually, the movie looks impressive. There are some really neat shots in the film, and it uproots familiar settings by giving them a dramatic facelift. That being said, there's no reason why Transcendence needed to be shot in IMAX. I saw it in that format, and cannot possibly justify spending the extra money to see it on a larger screen. 

Transcendence looks like a Christopher Nolan movie, with the same devotion and care to visual splendor. But for several reasons, it doesn't feel like one. Nothing against Wally Pfister, he's a brilliant cinematographer, but he still has a lot of kinks to work out if he wants to direct again. He needs a real screenwriter, who can take a story that has a lot of potential and turn it into a workable sci-fi thriller. The concept is here, but this seems like everyone involved in the film's first time working on a movie set. The high caliber actors and producers Nolan and Emma Thomas are just playing along in the sandbox like watchful parents. 

Transcendence should have been a lot more, and I do understand that this was a first-time attempt by Wally Pfister. I hope he does more cinematography work, as he is immensely talented in that field and is becoming a huge driving force in increasing the recognition of DP's. But for this particular project, it just doesn't transcend high expectations. 

Two out of five stars. 

Captain America: The Winter Soldier (Russo and Russo, 2014)

What happens when Marvel tackles the political thriller? Audiences get a fascinating allegory for the state of governmental conspiracies, complete with a total distrust of the agency that swears to protect the citizens of Earth. All of this is told from the perspective of a soldier, wishing each moment that he was back in simpler times. It just so happens that this super soldier is Captain America, giving the political thriller a super-heroic facelift. 

Captain America: The Winter Soldier is a dark and brooding epic that constitutes the best use of the First Avenger on the silver screen. While The Avengers merely hinted Steve Roger's discomfort with living in modern times, The Winter Soldier fully delves into his shattered psyche. In some ways, he is the only hero that can tell this incredibly moody story: he's an idealistic hero from a clearer time, where the lines of good and evil were not so grey. This picture finally gives diehard Cap fans the hero they've been waiting for, one who does whatever it takes to protect the moral grounds that his country only claims to follow. 

This movie follows the events of The Avengers much more obviously than Iron Man 3 and Thor: The Dark World, with series regulars Col. Nick Fury (Samuel L. Jackson) and Natasha Romanov/Black Widow (Scarlett Johansson) as main characters of the film. Steve Rogers/Captain America has become a primary SHIELD operative, completing a string of missions swiftly and successfully. But he distrusts his newfound organization, seeing first-hand how they have no problem breaking the law and keeping secrets from their own members. Eventually, he comes face-to-face with the Winter Solider, a legendary assassin who is as much of a relic as Rogers. But the Winter Soldier's sudden appearance forces Captain America to question SHIELD, plunging him into a conspiracy where no one can be trusted. 

Much like the other films of the Marvel Cinematic Universe's Phase 2, The Winter Soldier starts off slow and uninteresting, but ultimately picks up as the story progresses. The action scenes are loads of fun, and the final battle will make viewers smile in childish joy. Captain America, who seemed sort of lame in comparison to Thor and the Hulk, expertly holds his own in the combat. We are finally reminded why Captain America was such a great superhero to begin with- he beats bad guys to a pulp, and his famous shield is used to masterful effect. 

Plus, audiences are reminded of Scarlett Johansson's immense talents, as she steals the show as Black Widow. And Anthony Mackie is a worthy addition to the canon, playing a friend of Steve Rogers whose character eventually takes flight in his own way.

Much like the first movie used Joe Johnson, The Winter Solider's co-directors Anthony and Joe Russo were hired for their talents in creating a period piece. Instead of a World War II epic, the Russo's crafted a 1970's political thriller, complete with enough twists and turns to make audience's heads spin. All of this '70's appreciation is symbolized by the starring role of Robert Redford, who plays high-ranking SHIELD operative Alexander Pierce. He gives Captain America 2 a gravitas uncommon to the franchise, and the actor's work with the Russo's make this sequel really work.

That being said, the film is predictable as the sunrise. While the twists may shock infrequent filmgoers, regular audiences and most of all superhero fans will see each turn coming a mile away. The screenplay also takes itself way too seriously, which is both a disappointment and a highlight; while the Marvel movies have been known for their lighthearted amusement, The Winter Soldier is much more emotional and brooding. This will work for most adult audiences, but younger groups may find the story hard to follow and too dark. 

For Marvel die-hards, there is plenty to chew on here. There are numerous references, characters, and jokes that are there for fans of the comic books. Just for bonus, there's even a Pulp Fiction reference near the end of the film. And, just in case you dare not stay through the end credits (which is just foolish, as often the best parts of the movie are during that part), there is a sneak preview at a character never before referenced in either the media or the films, and is a major player in the universe. It's worth sticking around just to see that person. 

As far as sequels go, The First Avenger had a lot of problems that The Winter Soldier cleans up. It's a crisper, better story which makes perfect use of the patriotic superhero. With cool villains and some really fun scenes, the movie succeeds more often than it fails. Captain America: The Winter Soldier may be disappointing for some, but for most, it is a worthy entry into the Avengers franchise. 

Four out of five stars. 

(A note should be made about Agents of SHIELD, the ABC television show that takes place inside the Marvel universe. In many ways, Captain America 2 is a game-changer, so massive spoilers are in effect for likely the rest of the season of the program. If you don't see this film, the show will NOT make sense, and will effectively ruin the only real surprises of this movie. You have been warned.)

The Grand Budapest Hotel (Anderson, 2014)

Once you check into The Grand Budapest Hotel, you won't want to leave. 

Like a much-needed vacation, Wes Anderson's latest comedy remains pure escapism. In the time of year wrought with god-awful action flicks and dramas so bad they didn't even want to compete in Oscar season, The Grand Budapest Hotel finds the cult director of Moonrise Kingdom and The Royal Tenenbaums once again in top form, aided by the incomparable Ralph Fiennes. The film remains a master-class in acting, direction, and, of course, screenwriting that will amuse general audiences and enthrall resident cinephiles. 

Told with the loving devotion to characters common in the director/screenwriter's finest achievements, The Grand Budapest Hotel has two central leads (Fiennes and newcomer Tony Revolori), with a multitude of secondary protagonists, antagonists, and everyone else in between. A writer in the 1980's (Tom Wilkinson in the 1980's, Jude Law in flashbacks during the 1950's) reminisces over an encounter he once had with the owner of the infamous Grand Budapest Hotel, Zero Moustafa (F. Murray Abraham), who tells him the story of how he acquired ownership of the franchise. The flashbacks during the 1930's dominate the narrative of the movie, and feature the adventures of the young Zero (Revolori), and his relationship with his boss and the famous manager of the Grand Budapest, Monsieur Gustave H. (Fiennes). He sleeps with old women, loves romantic poetry, and runs his hotel with a demand for perfection. 

The master and apprentice end up becoming involved in the death of an elderly zillionaire (Tilda Swinton), and find themselves on the run from her cuckoo family and a deadly bounty hunter (Willem Dafoe). Along the way, they encounter a plethora of noted actors and actresses, which include no less than: Edward Norton, Adrien Brody, Mathieu Amalric, Harvey Keitel, Owen Wilson, Jeff Goldblum, Saoirse Ronan, Jason Schwartzman, and Wes Anderson-favorite Bill Murray. 

Most of the characters only appear in a few scenes, which puts a lot of pressure on the shoulders of Ralph Fiennes and Tony Revolori, who's chemistry ends up becoming so vital to the success of the picture. With Grand Budapest, Ralph Fiennes proves his versatility as an actor by playing the absolutely hilarious Gustave, stealing every scene with a bizarre charm and wonderful virtuoso. Even though it is only March, he has a very serious chance of stealing a nomination for Best Actor- something he righteously deserves. Revolori's success comes in standing on his own next to the Oscar-nominated Fiennes, and appears to have a promising career ahead of him. Both men enter the Wes Anderson canon as if they've been there the whole time. 

As typical of the auteur's style, everything in The Grand Budapest Hotel is just slightly off. There's something strange about the setting's exaggerated colors and shapes, and the story takes comedic licenses with several plot twists and character interactions. But Anderson has always filmed like the love child of Tim Burton and Quentin Tarantino, with wonderful characters interacting with artistic surroundings that never could exist in the real world. It's a movie's movie. 

The cinematography and directorial style equals the styles of the time periods in which the narrative takes place. Anderson puts the 1930's scenes in a 1.33 aspect ratio, the 1950's in 1.85, and the 1980's in 2.35:1. It's a change that's hardly noticeable if you're not paying attention, but frequent moviegoers will appreciate Anderson's cinematic history knowledge. 

However, The Grand Budapest Hotel, amidst it's bubbly wackiness, gives a striking commentary of strict regimes and racist militaries. Zero, an immigrant with a shockingly depressing backstory, is under the constant guard of Gustave, who understands that humanity has slipped into barbary. While the story is set in the 1930's, and features Nazi-like villains, the film is nevertheless contemporary- almost as if Anderson is noting the troubled tragedy of the world his characters are free from. He has no desire to live in such a conflicted livelihood, so he allows his writing to avoid the world's troubles by placing them in fake paradises and otherworldly cities. Anderson is just merely inviting us to live in his universe for a few hours, and we don't want to leave once the credits begin to roll. 

Last, but certainly not least, Wes Anderson's original screenplay will earn him an Oscar nomination.  With each new movie, the director is able to add more and more characters without compromising each of their qualities; even those who are on the screen for just a few moments seem to have deep, deep backstories, as if the audience can understand their lives completely. This takes immense writing talent, and is something that Anderson just gets better and better at doing. It's an added perk that the wacky writing remains chock-full of jokes, wisecracks, and a meticulous attention to detail. Just a small little gem, to whet your appetite: "What happened, my dear Zero, is I beat the living s**t out of a sniveling little runt called Pinky Bandinski. You should take a long look at his ugly mug this morning. He's actually become a dear friend." 

With The Grand Budapest Hotel, Wes Anderson manages to create a completely original work of motion picture art, bringing strong characters to the forefront of the action. It's worth the price of admission just to see Ralph Fiennes shine in comedic form, chewing the scenery and looking like he's having the time of his life. A writer's achievement that's only aided but the multitude of powerhouse performers that love working with the auteur, you'll want return to The Grand Budapest Hotel year after year.

Five out of five stars. 

January-March 2014 Micro Reviews

I'd like to start out by apologizing. My New Year's Resolution this year was to review every movie I saw in theaters, and I'm afraid, like many others, I failed to maintain my 2014 promise. I have been unable to update Movie Critic's Club recently, so I'd like to simply say sorry. But today, I can make it up to my wonderful readers (for whom I very thankful), by giving you my short, but personalized, reviews for all the movies I have seen so far from this year. I'm only including movies that I saw in theaters and that actually came out in 2014 (so I'm not including Oscar films like Dallas Buyers Club, Frozen, or Nebraska, because even though I saw them this year, they are technically from 2013). So, without further adieu, here is my Non Stop micro-reviews, where hopefully I will avoid Bad Words with the films that caused a Sabotage of senses, and instead build like a Lego Movie a group of solidly written reviews that can be read with a Need for Speed. 

The Lego Movie (Lord and Miller, 2014)

"Everything is Awesome" with The Lego Movie. Fun for movie fans both young and old, the film remains a triumph of visual animation that will amaze even the staunchest of film goers. The basic premise of The Lego Movie centers around Emmett (Chris Pratt), an average construction worker who gets hurled into a rebellion against tyrannical overlord Lord Business (Will Ferrell, in what is honestly my favorite performance of his). The catch? Because the action is obviously set in the Lego universe, there's literally dozens of exciting cameos from superheroes, historical figures, and sports stars- each played by notable actors. In the main cast, Elizabeth Banks plays Wild Style, the punk-like rebel who's mentor, Virtruvius (Morgan Freeman, proving once again his comedic genius), convinces her to accept Emmett. And Will Arnett steals the show as Batman, who delivers every line with pitch perfect intensity and hilarity. The Lego Movie will have you rolling in the aisles laughing, and sweeps you up in the emotional drama of the plot. There's plenty for kids and adults to chew on, from the catchy main song, to the Lego-like animation that teaches audiences the power of imagination. In case you have not been able to tell, The Lego Movie is easily my favorite movie of 2014 thus far. Five out of five stars. 

Non-Stop (Collet-Serra, 2014)

As an action picture, Non-Stop has a lot of problems. But in the Liam Neeson late-career pantheon of aged action star movies, it's one of the finer installments. After the meddlesome Unknown and the god-awful Taken 2, Neeson is back to his A-game awesomeness as Bill Marks, a U.S. Federal Air Marshall that gets caught in a game of cat-and-mouse with a mysterious passenger at 40,000 feet, where the people on their plane are the targets. Dealing with his own personal demons, and having only one ally on the plane (Julianne Moore), Marks has to prove his own sanity and stop a mad terrorist from killing everyone on board. Sound like one big cliche? Well, it is. But you're missing the big picture: it's Liam Neeson's plane they're trying to take. I love what the actor has been doing with the past five years or so, and his reinvention as a solid action star has made him my favorite old guy that kicks some major butt at the movies (sorry Stallone, Schwarzenegger, and Willis, but the '80's are over- more on that later). And Non-Stop does have a certain finesse in both pacing and structure; I personally did not figure out who the bad guy was by the time it was revealed, and for that I am appreciative. Plus, Neeson's co-stars are good in their own right, and single-handedly turn what would be an incredibly stupid premise into a tense thriller. The direction isn't great, the camera work is sloppy, and the final act is incredibly hokey. That being said, you don't come to a Liam Neeson picture expecting a work of art. And in that regards, Non-Stop does not disappoint. Three and a half out of five stars. 

Need for Speed (Waugh, 2014)

When will they learn that video games make crappy films, especially video games that have dumb plots to begin with? No one plays Need for Speed for the plot; instead, they want to race a car real fast and cause mayhem on the streets of major urban cities. The movie pretty much makes the same argument: that all it takes are loud cars, a few dangerous races, and attractive characters to cover up bad writing. While the movie Need for Speed does distract viewers with bright colors, cool cars, and neat stunts, it fails to offer any memorable impression. Breaking Bad-alum Aaron Paul brings more than a fair share of emotional angst to the simple plot of a bad boy race car driver trying to get revenge for the death of his friend and his own two-year imprisonment. His main target: a genuinely awful human being, played by Dominic Cooper, who also woos Paul's girlfriend (AS IF he wasn't bad enough). The racing scenes are fun to watch, but once the overall unnecessary plot gets in the way, the novelty of seeing sexy people and fast cars wears off. Action junkies will probably enjoy it, but at the end of the day, Need for Speed is a loud, story-less, and repetitive film- much like the video game that inspired it. One and a half out of five stars. 

Bad Words (Bateman, 2014)

The directorial debut of Jason Bateman, star of the cult comedy Arrested Development, is Bad Words, and even though the film is bleakly dark and incredibly vulgar, it's pretty good. With a humorous script that artfully dodges cliches, the director and star makes an entertaining comedy that understands its own simplicity by keeping everything short and to the point. This isn't necessarily a bad thing, because clocking in at just under 90 minutes makes sure that Bad Words keeps the jokes fresh, and the plot moving. Bateman stars as Guy Trilby, a virtually unlikeable 40-year old man that enters a children's spelling bee for an unknown purpose. He's committed to his cause, and not even his personal reporter (Kathryn Hahn) can get him to reveal his reasoning. At the National Bee, he befriends a young contestant (Rohan Chand), who he takes under his wing and shows how to live a little. Bateman's chemistry with Chand is spot-on, and remains the funniest and most delightful part of the picture. Allison Janney, who is normally great, is actually pretty stoic as the film's primary antagonist, the strict spelling bee director. As far as black comedies go, Bad Words ensures that if you're in on the joke, you're in for a good time. It's a pleasant surprise from a popular comedian. Four out of five stars. 

Sabotage (Ayer, 2014)

It's pretty sad when you think that Arnold Schwarzenegger should go back to being a politician. Remember what I said about Liam Neeson's reinvention of late? Schwarzenegger is arguably the opposite- he's trying to keep whatever juju he had from the 1980's alive in the 2010's, and it's failing miserably. I'm hoping the Terminator reboot that's coming up can help him out (because playing a Terminator doesn't require a whole lot of acting talent besides looking very serious and saying you're lines flatly), but Sabotage is not exactly a dream-come-true for fans of the Austrian juggernaut. With an overly convoluted plot that ends up just being pointless by the end, the film is as predictable as the sunrise. Plus, the action is incredibly gory, to the point of just being ridiculous; and, I'm pretty sure the screenwriter needed to fill up more time so he just added the "f-word" about 9,000 times. The best attempt at explaining the plot is that Schwarzenegger leads an elite DEA Special Forces team that goes undercover to take down major drug czars. Along the way, someone sets him and his team up, and starts routinely executing their members. Amidst moments of potential, it's easy to get lost in the story and characters, but eventually you realize just how thinly-drawn this all is. The stars do not even seem to want to be here, and ironically enough it's only Schwarzenegger that gives any sort of commitment to the film- it's just too bad his highest commitment is only as good as his English. Look, I love the works of Schwarzenegger in his prime, but it's time for him to retire. Sabotage is proof of that, because it attempts to replicate the magic that made him into a global movie star. Maybe you can look past the multitude of problems associated with the movie and just enjoy yourself, but I found myself annoyed and questioning throughout. It's no longer 1984, Arnold. Time to move on. One and a half out of five stars. 

Well, here you go: the awesome, surprising, and dreadful combination of the first films of 2014. Come back later this week for my full-length review of The Grand Budapest Hotel, and full coverage of all things Captain America: The Winter Soldier. 

Commentary on the 86th Academy Awards

Ellen said it perfectly: "It's going to be an exciting night. Anything can happen, so many different possibilities. Possibility #1: 12 Years a Slave wins Best Picture. Possibility #2: You're all racists."

12 Years a Slave, the seemingly indomitable Best Picture favorite for months, came out on top yesterday with three wins, including Best Picture, Best Adapted Screenplay, and Best Supporting Actress for the mighty Lupita Nyong'o. Predictors clearly had these as their number ones, and it's hard to argue against them. 12 Years a Slave is an incredible and undeniably important movie- one for the ages. It's even already being incorporated into high school curriculums throughout the country, because of its harrowing and brutally honest account of the horrors of slavery.

I, for one, am mostly happy with where the Oscars went yesterday. I can concede that even though 12 Years wasn't my favorite film of the year, it was still very impressive, and its importance cannot be overlooked. I am also happy Gravity, in my opinion the best film of 2013, swept the technical awards and went home with seven out of its ten nominations, including Best Director for Alfonso Cuaron. In my book, both 12 Years a Slave and Gravity were the big winners- an almost evened out tie that proved both of these movies will be one for the history books.

Dallas Buyers Club did pretty well too, with Best Actor for Mathew McConaughey, Best Supporting Actor for Jared Leto, and Best Makeup and Hairstyling (What?!? It beat Jackass and The Lone Ranger?!?). Cate Blanchett ended her near-perfect awards run by taking home Best Actress for Blue Jasmine (Sandra Bullock was robbed!). Frozen won their two awards, and Her took home Best Original Screenplay for Spike Jonze's fascinating modern fable. The short, foreign, and documentary films largely went as predicted as the rest of the winners of the evening. Not too many surprises last night, but certainly a lot of worthy winners.

Of course, quid pro quo, the dominating presence of Gravity, 12 Years a Slave, and Dallas Buyers Club meant the shunning of several nominees. Nebraska, Captain Phillips, and The Wolf of Wall Street came out empty handed. But the biggest surprise shut out was American Hustle, at once a leading contender for Best Picture, nominated for 10 Academy Awards but lost them all. David O. Russell will get his Oscar one day, and all of the actors in his '70's picture have all become Academy darlings in their own rights. You should still see the film- it's a lot of fun, and should have received some Oscars to further its success.

As for the show itself, Ellen DeGeneres did a marvelous job as host, and even gave a surprisingly effective opening monologue (which included the multi-prong joke, my favorite of the evening: "Jonah Hill showed us something in The Wolf of Wall Street that I haven't seen for a long, long time."). However, her real talent shone when she walked among the audience members, cracking jokes, taking pictures, and even handing out pizza to the starving celebrities. She introduced most of the presenters, which is what a host should do but rarely does; Ellen was incredibly involved in the ceremony, which made her an entertaining host, probably one of the best in recent memory. They even got her to wear a Wizard of Oz dress!

Ellen's best gimmick? Having a TON of big names come together for a giant selfie, after challenging Meryl Streep to help her break the record for most ReTweets on a Twitter photo. And that they did- the photo has been RT'd more than 2 MILLION TIMES, making it easily the most successful. In fact, the trick worked so well that it literally caused Twitter to shut down for a few moments. This shows the lasting power of the Academy Awards, and how fun a ceremony can be when a host actually tries.

The performances were all-in-all awesome, with Pharell's upbeat "Happy" getting celebrities to stand on their feet- and even encouraged Amy Adams, Lupita Nyong'o, and even Meryl Streep to get up and dance with him. U2 and Karen O. sang their songs well, and Idina Menzel gave a Broadway rendition of the eventual winner "Let It Go". Bette Midler sang a beautiful tribute after the "In Memoriam" section, and Pink did a nice job with "Somewhere Over the Rainbow" during the Wizard of Oz tribute (which was itself much better than the James Bond disaster last year).

The show otherwise went pretty well. They compacted from the over-booked show last year, only having a few montages that were well edited and showed a variety of famous movies from this year and of film's history. While some complained about them, the tributes to animation, real-life, and film heroes were still enjoyable walks down memory lane. The presenters were mostly alright, with Bill Murray standing out as a first-time Oscar presenter who remembered his friend Harold Ramis, who recently passed away. Kevin Spacey stole the show throughout, helping Ellen hand out pizza, tipping the delivery man, and even impersonating his now-famous House of Cards accent.

Yes, the ceremony went overtime. Sure, there was a few disappointments in the winners. But can we at least acknowledge that this was a phenomenal year for film, and no matter how you feel about the winners, that we can be proud for those who did? 12 Years a Slave was by no means my favorite film of 2013, but it was still an incredible experience. Gravity won by taking home the most Academy Awards, and that in my book is consolation enough for a movie that will go down in history as one of the most important technological breakthroughs in cinema history. This has been a long (and I mean LONG) Oscar season, so it's nice to know that it ended on a positive note. Congratulations to all the winners of the 86th Academy Awards!

Well, there you have it. Oscar Season 2013. I have had a blast these past few months, but time to return to normal. Reviews of 2014's early movies, including The Lego Movie and Need for Speed, will hopefully be up soon. In the meantime, check out some of this year's Academy Award winners!

Predictions for the 86th Academy Awards

Seven months of films. Four months of awards of coverage. Two months since the nominations announcement.

It all comes down to one night.

Tonight, after months of hard campaigning and some tough competition, the 86th Academy Awards will finally happen. A lot of the prize winners are guaranteed locks, but the night's top award will happily be the biggest nail-biter of them all. For those of you doing Oscar ballots, you can print them out here. Need help predicting all 24 categories? This is your post to read- here are, with a brief analysis of each category, my predictions for who will take home Oscars at the 86th Academy Awards. 

Here we go.

Best Picture

WILL WIN: 12 Years a Slave
COULD WIN: Gravity
SHOULD WIN: Gravity

I am still a firm believer in the three-way horse race between 12 Years a Slave, American Hustle, and Gravity. Hustle is in third place, and at this point will be a huge upset if it wins; it has a decent shot, because it's up for 10 Oscars, and the guild prizes that many base their predictions on would not yield a Russell victory in any case. However, it has a huge backing in the actor's branch (having won the SAG award), and since they represent the largest block of Academy voters, the actors should not be overlooked. Stronger arguments can be made for the other two primary competitors. 12 Years a Slave is the best combination of all the elements (even though I liked the other two much more), and will likely take the gold for the politics of cleaning the "old white guy" image of the Academy. Gravity, nevertheless, is the most popular of all the nominees- the highest box office draw, and easily the most visually stunning of the pictures. It will go down in history as the most important film of this year- it's time to award a science fiction film and go with the movie that will change the industry forever. All three deserve to win, and I will be holding my breath for the winner to be called.

Best Director

WILL WIN: Alfonso Cuaron, Gravity
COULD WIN: Steve McQueen, 12 Years a Slave
SHOULD WIN: Alfonso Cuaron, Gravity

Despite the tight Best Picture race, Alfonso Cuaron's masterful direction of Gravity will earn him his first Academy Award. It's a directors triumph, and no matter how you feel about any of the nominees, his deservedness is virtually unanimous. McQueen and Russell will get their days eventually, but this is Cuaron's time to shine.

Best Actor in a Leading Role

WILL WIN: Mathew McConaughey, Dallas Buyers Club
COULD WIN: Leonardo DiCaprio, The Wolf of Wall Street
SHOULD WIN: Mathew McConaughey, Dallas Buyers Club

With his Mud, The Wolf of Wall Street, and Dallas Buyers Club being some of the finest performances of the year, the "McConaissance" will cumulate in an Oscar tonight. DiCaprio, much like the infamous long-time snubbing of his directorial partner and friend Martin Scorsese, will win someday. This year just feels so right for McConaughey, who has never impressed me up until this point. He will and should win.

Best Actress in a Leading Role

WILL WIN: Cate Blanchett, Blue Jasmine
COULD WIN: Amy Adams, American Hustle
SHOULD WIN: Sandra Bullock, Gravity

Bullock was a revelation in Gravity, silencing naysayers who claimed her Blind Side was not deserved. The movie literally needed her, and she was the necessary soul that made Gravity more than a visual achievement- it became a virtuoso of the triumph of the human spirit. Adams is an Academy darling that never seems to win, and she gives her best performance ever in American Hustle. But it's Blanchett's mental breakdown in Blue Jasmine that will win Oscar gold- she's won everything up until this point, so her victory is almost guaranteed. A deserving performance for an undeserving film. Not that I didn't like Blanchett, she was incredible in the movie. I just wish they could give it to Bullock or Adams.

Best Actor in a Supporting Role

WILL WIN: Jared Leto, Dallas Buyers Club
COULD WIN: Barkhad Abdi, Captain Phillips
SHOULD WIN: Jared Leto, Dallas Buyers Club

Another great crop of nominees, in which the first place lock actually deserves the prize. Jared Leto is amazing in Dallas Buyers Club, playing a transgender AIDs victim with a tragic story and a lot of flamboyant spirit. A method actor of the highest extreme, Leto will earn his first Academy Award tonight. Abdi took the BAFTA, but that's because Dallas Buyers Club was not eligible for their awards yet. Bet on Leto- you won't regret it.

Best Actress in a Supporting Role

WILL WIN: Lupita Nyong'o, 12 Years a Slave

COULD WIN: Jennifer Lawrence, American Hustle
SHOULD WIN: Jennifer Lawrence, American Hustle

The other nail-biter of the evening, there's a lot of support for both Nyong'o and Lawrence. Both are deserving candidates: Nyong'o's first-ever film role is incredible, giving all the emotional power of the greatest actresses of her generation into one performance; Lawrence, who is in my opinion the finest actress to come around in a long time, continues to amaze in a showy role in American Hustle. Both steal the show, despite limited screen time. In the end, I think Lawrence's victory last year may lead to the spreading of the wealth to Nyong'o. That being said, if Lawrence wins, in addition to being the youngest three-time nominee and two-time winner, she'll be the first actress ever to win back-to-back Oscars in different categories.

Best Original Screenplay

WILL WIN: Her
COULD WIN: American Hustle
SHOULD WIN: American Hustle

Her is the epitome of originality, telling a timely story in a creative manner. Spike Jonze is up for three Oscars, and since he doesn't have a chance in Best Picture or Best Original Song ("The Moon Song" from the movie), this is where Her is likely to get a lot of attention here. American Hustle could deservedly win David O. Russell his first Oscar however, giving a wonderfully dramatic 1970's story a fun angle. It's the best screenplay of the year, but Her is walking away with this one.

Best Adapted Screenplay

WILL WIN: 12 Years a Slave
COULD WIN: Captain Phillips
SHOULD WIN: The Wolf of Wall Street

An interesting thing is happening with this relatively weak category: the winner here could show our Best Picture winner. It's very rare that a Best Picture winner does not earn a Best Screenplay victory as well, and so 12 Years a Slave is the expected winner. That being said, the movie has yet to win an award for its writing- Captain Phillips took home the Writer's Guild Award for Best Adapted Screenplay (grant it, 12 Years wasn't eligible, but still- think about it). There's also a lot of support for Before Midnight, but I personally hope they give it to The Wolf of Wall Street- it's a fantastic story, and should be getting more recognition that it has been; plus, it's a powerful moral fable.

Best Animated Feature

WILL WIN: Frozen
COULD WIN: The Wind Rises
SHOULD WIN: Frozen

I finally saw Frozen a few weeks ago- it is as good as people are saying. Easily the Best Animated Feature of the year (besides personal favorite Monsters University, which wasn't nominated), it's breathtakingly crafted, with the care and precision we've come to expect from Disney. It'll be the studios first solo victory in this category (without Pixar), and is the most progressive Disney movie to come out in a while- about women's empowerment and the strength of sisterhood. Plus, of course, "Let it Go". The Wind Rises is Miyazaki's swan song, however, and because of his humongous influence on both animation and moviemaking in general, I'd be ok seeing him win as well.

Best Original Score

WILL WIN: Gravity
COULD WIN: Philomena
SHOULD WIN: Gravity

Gravity is a film that relies heavily on its music to replace some of the sounds- and it does so to magnificent effect. Steven Price's score is innovative and crazy, unlike anything we've ever heard before. Sure, a lot of heavy hitters are in this category, but Price concocted a monumental achievement in movie music.

Best Original Song

WILL WIN: "Let it Go", Frozen
COULD WIN: "Happy", Despicable Me 2
SHOULD WIN: "Let it Go", Frozen

Finally, a Best Original Song race with genuinely awesome pieces of music. All of them have a shot of victory: from U2's upbeat Mandela: Long Walk to Freedom anthem, Karen O.'s sensual "Moon Song" from Her, Pharell's infectious Despicable Me 2 theme "Happy", and the instant classic from Frozen "Let it Go" performed by Idina Menzel. All four are performing tonight- get excited, because all of the songs are really good. However, I'm going with the Disney favorite, if only because it's been stuck in my head from the moment I saw the movie.

Best Documentary Feature

WILL WIN: The Act of Killing
COULD WIN: 20 Feet from Stardom
SHOULD WIN: The Act of Killing

The documentaries here are awe-inspiring, and since the Academy has gone with the cute entertainment pieces as of late, I think it's time to award a very serious documentary about a sensitive subject.

Best Foreign Language Film

WILL WIN: The Great Beauty
COULD WIN: The Hunt
SHOULD WIN: The Hunt

Unfortunately, I have only seen one of these movies, but it did leave an impression on me. The Hunt, starring Casino Royale's Mads Mikkelsen, is about a popular teacher who quickly is denounced as being a pedophile- totally false information that spirals out of control, eventually lead to the animalistic tendencies of the small town around him. It was frustrating, terrifying, and very good- it was a popular winner around the world last year, so I hope it takes the prize. However, The Great Beauty has been a unanimous foreign language winner, so Italy takes gold here.

Best Cinematography, Best Sound Editing, Best Sound Mixing, Best Visual Effects

WILL WIN: Gravity
COULD WIN: Nebraska (Best Cinematography), Lone Survivor (Best Sound Editing/Mixing)
SHOULD WIN: Gravity

Now to the technical categories. Gravity will likely sweep all of them, so here's a brief breakdown of why: it's gorgeously shot, with innovative camera movements (still have no idea how he got inside of a helmet, or shot a 13-minute continuous 3-D opening); it's sound is inventive, because it had to create a lot of space effects that simply don't exist; and visual effects, just because, well.... just watch it and you'll find out why.

Best Production Design


WILL WIN: The Great Gatsby
COULD WIN: 12 Years a Slave
SHOULD WIN: American Hustle

If the Academy takes the historical route again, then 12 Years a Slave will win like Lincoln. That being said, the sweeping plains of the south do not hold a candle on Baz Luhermann's art direction of The Great Gatsby. Say what you will about the film, but it does look rather nice.

Best Costume Design

WILL WIN: American Hustle
COULD WIN: The Great Gatsby
SHOULD WIN: American Hustle

A lot of people are singing Gatsby's praise here, but American Hustle has got to win something. It's up for 10 Oscars, so statically one should at least be a guarantee. If not Lawrence, then I believe the Academy will take notice of the costuming of the picture. They should win for Amy Adam's dresses alone- they made the '70's sexy, and the plunging necklines show the sexual use yet vulnerability of her character.

Best Makeup and Hairstyling

WILL WIN: Dallas Buyers Club
COULD WIN: Jackass Presents: Bad Grandpa
SHOULD WIN: Dallas Buyers Club

By far the oddest group of nominees in the entire race, I can't see Jackass nor The Lone Ranger taking home Oscars tonight. The makeup team on Dallas Buyers Club turned Jared Leto into a woman, and heightened his already wonderful performance.

Best Live Action Short

WILL WIN: The Voorman Problem
COULD WIN: Helium
SHOULD WIN: Avant Que De Tout Perdre (Just Before Losing Everything)

Having seen all of these, I can tell you that only one impressed me: Avant Que De Tout Perdre (Just Before Losing Everything), which told the thrilling story of a woman and her children trying to escape her abusive husband. It was a claustrophobic and tense film, which makes me wonder what great things director Xavier Legrand will do in the future. The rest of the movies were melodramatic and cliche, which pretty much means the Academy will choose them. Voorman is in English and stars Hobbit lead Martin Freeman, so I'll give it the slight edge over the cancer story Helium.

Best Animated Short

WILL WIN: Get a Horse!
COULD WIN: Room on the Broom
SHOULD WIN: Get a Horse!

Another lackluster crop of nominees, the winner here is obvious: a Disney cartoon that stars none other than Walt Disney himself. The production team found archival voice footage of the famous cartoonist voicing Mickey Mouse, so they used it and combined it into a contemporary cartoon that combines traditional techniques with the latest of CGI. It's a fun short that also appeared before Frozen.

Best Documentary Short

WILL WIN: The Lady in Number 6
COULD WIN: Cavedigger
SHOULD WIN: The Lady in Number 6

The frontrunner is a story about how music saved a Holocaust survivor's life. It basically screams Oscar, so I'd go for it.

Well, there they are: the biggies, the technicals, and the categories no one has seen (though you should check some of them out eventually- it'll be good for you). It all comes down the Academy of Motion Picture Arts & Sciences tonight on ABC, starting at 7 PM. Enjoy the show, and if you're interested, I'll be live tweeting during the ceremony: my handle is @RyanVenezia1006.

Have a great time celebrating the great films of 2013! It's been a long road, but tonight all will be revealed. If you need any more analysis, check out the Awards tab above for more Oscar information. Until then, have fun watching the 86th Academy Awards!!!!!!

Oscar Countdown 2014: Best Picture

We officially have only ONE WEEK to go! The 84th Academy Awards are next Sunday, and the race couldn't be more exciting. The greatest actors of our generation are vying for their own gold, but the movies they star in are also in hot contention. With no less than three movies having a reasonable chance of winning, this is by far the best horse race in the past decade. This is the year of survival in film, and each character fights for control of their own lives in some unique way. For the first time ever, I have been able to see all nine of the movies up for Oscar's top prize, and they all deserve the award. But, since there must be a winner, we're analyzing each film's chances of success. Today, we're looking at the nine movies competing for the Best Motion Picture of 2013.

12 Years a Slave

Ever since the early predictions started, 12 Years a Slave has been on the top of everyone's lists. However, interestingly enough, 12 Years isn't supposed to win a large chunk of the awards. That being said, it has nearly swept the prizes where Best Picture was a category, including tying for the Producers Guild Award, and recently won the BAFTA. And it's not hard to imagine why- the movie is a brutal depiction of the cruelty of slavery, more relevant now than ever. Steve McQueen, through only three films, has showed the harshness of life, and none have been as epic as 12 Years. This movie is one of the top three choices for Oscar voters, and the only things that stand in its way are called American Hustle and Gravity. That being said, while the other two movies have faults of their own, 12 Years a Slave is arguably the best all-around picture, with solid acting, writing, cinematography, sound, music, and direction. It represents exactly what Best Picture aims to honor.
OSCAR CHANCES: HIGH


American Hustle

With "10538 Overture" and other '70's anthems blaring in the background, American Hustle is an addicting drama, with the Screen Actor Guild's choice for the Best Cast of the year. It's characters are fascinating, it's story is intriguing, and David O. Russell has proven himself to be one of the most resilient and talented writer-directors of the decade. While it's 1970's backdrop may not seem too relevant, American Hustle benefits from the perfect cast with the perfect director at the right time. Almost all of them Russell regulars, and it's clear their chemistry is solid throughout this engaging crime saga. With 10 nominations to its name, Hustle ties Gravity for having the most nominations of the night. It was even once declared the Oscar frontrunner; however, recently, the film seems to be losing steam, and has not made a huge impact on guild awards lately. However, one should not underestimate how much the Academy loved this movie when it first came out, and how Russell has done the impossible and been up for the Big Five two years in a ROW. American Hustle is probably his best film yet, and it's the safe choice for Academy voters who can't decide between Gravity or 12 Years a Slave. It's a popular movie that could end up going all the way, and no one will complain if it does.
OSCAR CHANCES: HIGH


Captain Phillips

Captain Phillips has been shamefully neglected by the Academy. For being one of the finest films of the year (my #5 pick), it failed to receive a nomination for Best Actor or Best Director, and is not expected to win virtually anything (except for a possible Editing victory). The Guild awards have honored the film on several occasions, honoring it's breathtaking editing and Barkhad Abdi's first-ever film role. But the Academy does not seem very keen on picking the movie in its six nominations, and it's Best Picture victory is the longest shot of them all. In any case, you should still check out this solid action thriller; it's fresh from CNN, and has a comeback role for Hank's seemingly stalling career. It's a shame the Academy could not recognize it more.
OSCAR CHANCES: LOW



Dallas Buyers Club

As far as acting prizes go, Dallas Buyers Club is likely to claim half, with Mathew McConaughey and Jared Leto looking like virtual locks for Best Actor and Best Supporting Actor, respectively. However, much beyond that, the Dallas Buyers won't be winning much else. Their Best Picture odds are not very strong, with only a handful of other nominations (some of which they'll win; more on Best Makeup next week). They can sleep well knowing they have at least three prizes in the bag, and will go down in Oscar history as being one of the few movies to claim both male acting awards. Just don't expect it to make much a Best Picture showing.
OSCAR CHANCES: LOW







Gravity

Dear Members of the Academy of Motion Picture Arts & Sciences,

I, like a handful of many devoted Oscar fans, were very excited to see that Gravity was tied for the most nominations of the evening, including Best Picture. As far as movies of 2013 go, none were as breathtaking or visually spectacular as Gravity. It represents definitive proof as to why people need to go the movies to fully experience a motion picture, and will go down in history as easily the most influential film of the year. In addition, I have been happy to see that many Oscar pundits are predicting Gravity to sweep many of the technical awards. It deserves this recognition, and, as far as I know, is a virtual lock for Best Cinematography, Best Visual Effects, Best Sound Mixing, Best Sound Editing, Best Original Score, and even Best Director for the landmark visionary Alfonso Cuaron. My question is this: why are so many saying that, even with all these achievements pretty much guaranteed, 12 Years a Slave is going to win Best Picture? It's not that it's a bad movie- it's an amazing work of art that deserves much praise. But it could have been made a decade ago, to the same effect. Gravity could only have been crafted at this time, and will have an astounding legacy on the history of cinema. It's the kind of movie event that only comes around once in a while, and so it demands to be honored whenever it can. This is YOUR chance to vote for a movie that means something, a film that has made a positive contribution to your industry, which will continue to feel its effects for years to come. Don't take the safe route this year- vote for the film that has everybody talking (and has the highest box office profits of all the nominees, to boot), and go with your gut. Cuaron's masterpiece needs to win Best Picture because it is the best movie of the year, for movie lovers in and out of the industry. Don't regret your vote five years from now; seize the opportunity to vote today. Vote Gravity for Best Picture.
OSCAR CHANCES: HIGH

Her

Spike Jonze is up for three Academy Awards this year- for Best Original Screenplay, Best Original Song, and Best Picture- all for his modern romantic fable Her. The film remains an innovative look at the state of love in the world, where a lonely man can fall for his computer easily and realistically. Jonze will probably win for Best Original Screenplay, because the story is fascinating and so intricately written. It's production design also deserves to be recognized, and Scarlett Johansson should have been up for Best Supporting Actress as the voice of Samantha, the Siri-like computer of Joaquin Phoenix. Many critics adored this movie, and romance enthusiasts should certainly check it out. That being said, the film only has a moderate chance of winning, and it's inspired screenplay will likely yield it's only prize.
OSCAR CHANCES: LOW


Nebraska

For old souls and Alexander Payne fans, Nebraska is a beloved treasure: a gorgeous black-and-white drama about tribulations of getting old. It's beautiful cinematography, as well as a story that makes viewers smile, shows the talents of this acclaimed filmmaker. Nevertheless, Nebraska will likely come out a goose egg come Oscar Sunday. It stands an outside chance because Payne is up for Best Director, and a lot of the Academy consists of elderly people that likely find this movie a welcome return to form. I personally enjoyed the movie, but thought it was easily the weakest of the nominees. With Dern and Squibb's last hope being to earn a career Oscar, Nebraska is the definition of the dark horse.
OSCAR CHANCES: MEDIUM



Philomena

Speaking of weak nominees, there was a lot of raised eyebrows over this sweet little British dramedy. Judi Dench is an Academy starlet, and Steve Coogan's screenplay deserves to be recognized. But the film itself is a pretty average movie, and while it's cute and entertaining, there's nothing really making Philomena a Best Picture standout. It's biggest backer, however: Harvey Weinstein. He literally made the Oscar campaigns what they are today, but this is his only movie up for Best Picture. He's won so many times in recent years that it's hard to see another executive producer taking the prize; however, Philomena is currently resting comfortably in ninth place. There will be a ton of raised eyebrows if Philomena wins Best Picture.
OSCAR CHANCES: LOW




The Wolf of Wall Street

Martin Scorsese and Leonardo DiCaprio are trying their very best to get the word of mouth out on The Wolf of Wall Street. It's an incredibly raunchy film, making even the most emotionless person cringe. The movie is absolutely crazy, and I was not expecting the typically conservative Academy to recognize this wild party. However, it ended up with five shocking nominations, for Best Actor, Best Supporting Actor, Best Adapted Screenplay, Best Director, and Best Picture. The scary part? It's got probably the greatest chance of winning if 12 Years, Hustle, and Gravity manage to cancel themselves out. This is a highly popular movie gaining more and more momentum every day. The Wolf of Wall Street is also a parable about financial excess, and an attack on the corrupt financial figures throughout the world. Could this be the first movie to win DiCaprio an Oscar?
OSCAR CHANCES: MEDIUM

Here they are: the nine films representing the best that 2013 has to offer. In the end, it'll come down to 12 Years a Slave, American Hustle, or Gravity (with The Wolf of Wall Street representing the only real outside possibility, unless Weinstein manages to make Philomena more of a thing than it deserves). If the trend continues, it appears that 12 Years a Slave is destined for Oscar gold. I'm pleading for American Hustle, and even more so Gravity, but it'll be a tight race until the very end. In a week, it will all be decided: will it be the monumental achievement in filmmaking, the greatest cast of the year, or the social issue movie? Oscar voters, it's in your court now.

Bottom line, here are my predictions as of February 23rd, 2014:

WILL WIN: 12 Years a Slave
COULD WIN: Gravity or American Hustle
SHOULD WIN: Gravity

Come back next week as we break down all 24 categories!!! In the meantime, check out an Oscar-nominated movie at your local theater!