MCU Retrospective: Captain America: Civil War

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Hey, who took the last donut?

85/100

Thus far, the MCU has done precious little introspection. The arrival of aliens on Earth, the collateral damage our heroes cause, international laws and politics, all of that has been either swept under the rug or acknowledged only with the wave of a hand, but Captain America: Civil War is here to rectify this. Like Captain America: The Winter Soldier before it, Civil War attempts to be a different breed of Marvel film; while the MCU would crumble if it spent too long looking inward and figuring out the mechanics of its world, it can certainly pretend to do so, and pretend well. If you are looking for an erudite, soul-searching movie about the costs of combat, look elsewhere, but for a theme park ride superhero movie, Civil War does a bang-up job of positing some serious problems, even if its answers don’t quite live up to the questions. 

Its title is a bit of a misnomer. Really, it should be Avengers: Civil War, or at the very least Captain America and Iron Man: Civil War, because it’s really a twofer between Chris Evans’ Steve Rogers and Robert Downey Jr.’s Tony Stark. Marketing revolved around “Team Cap” or “Team Iron Man,” and the hype around this movie was perhaps even stronger than for Avengers: Age of Ultron. It was more than just a Captain America movie, it was an event that wouldn’t change just one character, as was the case with most other non-Avengers Marvel efforts, but whose effects would reverberate through the MCU at large.

The Civil War comic only features the barest similarities with its movie counterpart (it relies heavily on the existence of secret identities, which have very little presence in the MCU, and in the aftermath, a brainwashed Sharon Carter kills Captain America and then stabs her own womb to get rid of her unborn child, so there is quite a lot more going on here), but the showdown between Captain America and Iron Man is integral to the plot (this shot from the film is based off this comic cover), and to attempt an adaptation without Iron Man, or to have Iron Man’s presence lessened, would be nigh impossible, yet that was what our favorite interfering overlord Ike Perlmutter sought to do. 

Initially, Tony was going to have a smaller role, but Downey and his team lobbied for a bigger one; this apparently angered the famously frugal Perlmutter so much that he ordered Iron Man to be written out of the script entirely over fears of a ballooning budget. Kevin Feige, hell-bent on making Civil War the spectacle it should be, became so upset that he apparently toyed with quitting, and it was this kerfuffle between Perlmutter and Feige that finally caused Disney CEO Bob Iger to restructure Marvel, shunting Perlmutter to the side and centralizing Feige’s power. This move would ease restrictions on cast and crew, opening the doors for films such as the female-led Captain Marvel and the zany Thor: Ragnarok; since Perlmutter moved and his Creative Committee was disbanded, Marvel has allowed much more creative freedom or has gotten much better at making its talent keep their mouths shut. Either way, it’s hard to view Perlmutter’s departure as anything other than a success—as I have discussed, his outdated and offensive views on gender and race hampered Marvel, and it’s easy to see how (by and large) the MCU has only gotten better since it escaped Perlmutter’s clutches.

Once the dust settled, Robert Downey Jr. emerged with screen time nearly equal to that of Civil War’s titular Captain America, and while this may seem incongruous with the fact that this is supposed to be a Captain America movie, Downey does such tremendous work here, and Tony has such an interesting arc, that it’s hard to be that mad at returning directors Joe and Anthony Russo or Marvel veteran screenwriters Stephen McFeely and Christopher Markus. 

After the catastrophic events of Avengers: Age of Ultron (flying city, hordes of murderbots, etc.), public scrutiny has been turned on the Avengers. It becomes especially critical when what should have been a routine mission in Lagos—aka downtown Atlanta with a yellowish filter slapped over it—goes horribly wrong and winds up killing 23 civilians. This, coupled with a confrontation with a grieving mother (the immensely talented Alfre Woodard, who would go on to play Mariah Dillard in Netflix’s Marvel offering Luke Cage) whose son was killed during the events of Age of Ultron, sends Tony Stark spiraling as his ever-present guilt and self-loathing rear their heads again, and so when Secretary of State Thaddeus Ross (William Hurt, who is the first actor from The Incredible Hulk to reprise his role and prove that Marvel doesn’t want to sweep it entirely under the rug) approaches with the UN-sanctioned Sokovia Accords, which would put the Avengers under the oversight of a UN panel, Tony is the first to sign.

It’s quite a remarkable turnaround from the man in Iron Man 2 who said such things as, “You want my property? You can’t have it!” and “I’ve successfully privatized world peace” at a Senate hearing, yet it fits seamlessly into his arc. The arrival of aliens and the existence of threats such as the Chitauri completely altered Tony’s worldview, saddling him with PTSD and resulting in the creation of Ultron, because Tony believed that no one else would be better equipped to protect the world than himself. When that backfired spectacularly, giving Tony proof that, contrary to what Steve Rogers may believe, the safest hands are not his own, and that he can’t be trusted on his own because everything he touches turns rotten. And, as always with Tony, there’s an intensely personal element to this as well now that Tony has pushed Pepper (Gwyneth Paltrow) away again: “A few years ago I almost lost her so I trashed all my suits. Then we had to mop up Hydra. Then Ultron, my fault. And then, and then, and then. I never stopped. ’Cause the truth is I don’t wanna stop. I don’t wanna lose her. I thought maybe the Accords can split the difference.”

Steve’s ideology, on the other hand, has always been consistent. He is an embodiment of our anxiety over the post-9/11 surveillance state (where Iron Man represents a very different post-9/11 American chutzpah and desire for a swift end for terrorism and safety), and his faith in institutions has understandably grown thin: first he’s a dancing monkey for the United States government, then a pawn for S.H.I.E.L.D., then learns that S.H.I.E.L.D. has secretly been his old enemy Hydra the entire time. Steve has never gone through a true character arc like Tony has, because his strength of moral character is already such that it’s hard for him to improve, and so to make his character dynamic you have to throw him in hot water and place him among those whose moral compasses might be a tad shakier: it was Hydra in Winter Soldier, and here the Accords present the conundrum. Steve refuses to sign, and thus the Avengers’ Civil War begins. To the film’s credit, it really does try to focus on the MCU’s internal politics and lays out decent arguments for both sides of the Accords debate (even though it is ostensibly Captain America’s movie), avoiding condemnation as best it can. 

Read More of Anna’s Ongoing Marvel Retrospective Series Here

The real trouble doesn’t begin until there’s a bombing in Vienna at the signing of the Accords, and everything points to one James Buchanan Barnes (Sebastian Stan) as having been the perpetrator. This prompts a worldwide manhunt: Steve and Sam Wilson (Anthony Mackie) race to get Bucky before the authorities do so Steve can protect his oldest friend, the UN wants to bring him in for questioning, and a certain Prince T’Challa (Chadwick Boseman) of Wakanda wants to kill Bucky as revenge for the explosion that killed his father, T’Chaka (John Kani). There is a very fun chase scene in Romania that involves Steve, Bucky, and T’Challa all handily outstripping the passing cars and Bucky flipping onto a motorcycle in a way that captured the minds of many a teenage girl around the world (myself included), but it ends with the three heroes apprehended by the UN. 

Remarkably, this is the first big action sequence in the film and it doesn’t come until about 45 minutes in, which has got to be a record for Marvel. Civil War is perhaps the least action-heavy MCU entry so far, only having three notable fight scenes (four if you count brainwashed Bucky vs. everyone else), none of which are against more than six people; for being all but an Avengers movie in name, it certainly bucks the trend of fighting innumerable faceless foes, and that’s a welcome change of pace. 

Boseman, of course, nails his introduction as T’Challa. Both he and the character he plays would go on to become revered figures, not only due to the cultural impact of Black Panther finally arriving on the screen, but because T’Challa, through Boseman’s performance, is such a commanding presence from the first: he’s a powerful and regal king, but still a fallible human being battling with grief and a desire for vengeance. His quiet scene with Zemo at the end is a beautiful moment that, despite his little screentime, cements T’Challa as iconic far before the release of his solo movie. “Vengeance has consumed you. It’s consuming them. I’m done letting it consume me.” (And he gets to run fast and beat up fellow superheroes to boot. What’s not to love?)

Back in UN custody, things seem to be going alright—Tony even almost convinces Steve to sign the Accords until he lets slip that he’s keeping Wanda Maximoff (Elizabeth Olsen), the inadvertent creator of the destruction in Lagos, under lock and key with Vision (Paul Bettany) at the Avengers compound—until the psychiatrist assigned to analyze Bucky speaks the trigger words implanted in his brain by Hydra and sics him on the rest of the Avengers after drilling him about a mission report from December 16, 1991. Turns out this psychiatrist is actually Helmut Zemo (Daniel Brühl), a former member of the Sokovian military whose family was killed during Ultron’s attempt to drop a city-meteor on the world in Age of Ultron. Zemo will go on to become a fan favorite in The Falcon and the Winter Soldier, but here he is all cruel and cold calculation setting out to topple the powers that killed his family, and the personal nature of his issues with the Avengers gives his actions more weight than most Marvel villains. He is also the only villain besides Thanos to succeed at his goal. (Of course, the threat of Thanos eventually brings the gang back together again, but Zemo’s villainy certainly has more repercussions than, say, Malekith’s evildoings.)

And topple the Avengers do. Determined to exonerate the last remaining thread connecting him to his old life, Steve goes after Bucky, accompanied by Sam. When Bucky reveals that other genetically enhanced Hydra soldiers exist, Steve assumes that Zemo means to wake them from their cryogenic sleep and use them to destabilize the world’s governments, and so the three set out to stop him. They enlist Wanda, Hawkeye (Jeremy Renner), and Ant-Man (Paul Rudd), but find the path barred by those who supported the Accords: Tony, Rhodey (Don Cheadle), Black Widow (Scarlett Johansson), T’Challa, Vision, and some kid with web shooters called Spider-Man (Tom Holland). 

The ensuing fight in an empty German airport is simply an excuse to show off all the characters’ cool powers and acts as little more than fanservice, though if you’re like me, it’s certainly enjoyable fanservice, though the reasons for its existence are flimsy at best. But Ant-Man becomes Giant-Man, Spider-Man swings around and does backflips, Black Widow and Hawkeye duke it out, et cetera, and it provides a good deal of fun. Marvel has finally gotten their hands back on some of their most valuable IP, dammit, and they’re not going to let it go to waste.

Spider-Man, of course, has a long history on our movie screens, starting with Sam Raimi’s original trilogy in the early 2000s, continuing with two Amazing Spider-Man movies with Andrew Garfield before that endeavor was aborted, and finally winding up here in the MCU proper. Having sold off their rights to Spider-Man before the MCU, Marvel was forced to make do without him at first while Sony continued to try and pump the character for money; with the recency of The Amazing Spider-Man duology (2012 and 2014, respectively), not to mention the Raimi trilogy (Spider-Man 3 was only 2007), it seemed unlikely there would be a third reboot of the character within less than two decades.

That is, until the infamous Sony email hacks from 2014 revealed that… maybe? But then talks broke down and people forgot about it, though some were hopeful that, given Spider-Man’s prevalence in the Civil War comics, he would be a presence in its adaptation. Rumors continued to swirl, though as some rightly pointed out, Civil War the movie could work just fine without Spider-Man. The rumors were tantalizing nonetheless: the MCU had been built off the back of lesser-known heroes, but what would happen when they finally got their hands on Marvel’s most iconic character?

Well, it turns out the speculation didn’t last long, and Sony and Marvel reached a deal to share Spider-Man, with Peter Parker’s first appearance in Captain America: Civil War

The Sony/Marvel relationship has been very contentious, and Sony’s desire to expand into their own Spider-Man universe confuses things immensely. While everything seemed to be going smoothly at first, things broke down in 2019, after Spider-Man: Homecoming and Spider-Man: Far From Home had already come out, and it seemed like Tom Holland’s Spider-Man would be no more, and Peter Parker would be relegated to Sony’s Marvel Universe—not to be confused with the MCU at large—which so far only consists of 2018’s critically panned but financially successful Venom. This caused a brief meltdown among fans (myself included) before another agreement was reached, which pulled Spider-Man back into the MCU, but also allowed him to visit some of Sony’s other offerings. Probably. 

It’s all very vague, but Sony’s upcoming Morbius—which looks just absolutely dreadful—features Michael Keaton’s Vulture, who first appeared in Spider-Man: Homecoming. All in all, it’s a very confusing deal, one which will only continue to muddy the MCU canon upon the release of Morbius and Sony’s upcoming Spidey-related slate. Disney and Marvel’s steady amassing of IP is concerning from an artistic standpoint as they continue their stranglehold on the entertainment industry, subbing recognizable IP for capital-A Art, but, you know… there’s something to be said for simplicity and streamlining. At the very least, some clarity would be appreciated. (Yes, if it must be said, I vote in favor of axing the Sony Spider-Man Universe and folding it all under Marvel and continuing the agonizing death of independent cinema. Yes, a not-insubstantial chunk of this desire is the fact that I do not want certified creep Jared Leto to be in the MCU proper.)

Despite the treacherous road to his MCU debut, Spider-Man shines in Civil War. It helps that Tom Holland actually looks like a high school student, unlike Tobey Maguire or Andrew Garfield, and this Peter Parker radiates a charm that is decidedly boyish in energy. This is just a kid—a very strong and a very smart one, but a kid nonetheless. Even though Spider-Man could have been excised from the Civil War plot with no consequences (he’s really just there because it’s all about increasing that Marvel brand, baby!), his presence gives an infectious jolt of energy to the proceedings and provides a great source of humor in a film that, for Marvel standards, is practically dour. 

But where Spider-Man gets some great moments in Civil War, you know who doesn’t? Sharon Carter (Emily VanCamp). I have previously lamented Sharon’s wasted role in the MCU, and it continues here. Judging from concept art, she was supposed to have been a part of the big airport battle, but in the finished product does exceedingly little. The kiss between her and Steve doesn’t work because Markus and McFeely spent so little time developing Sharon as a person that it reads as a character beat they were forced to hit rather than something that came about organically, so of course fan response would be tepid (at best, and harassment at worst—take a gander through the fandom side of Twitter or Tumblr and you will find some truly vile and downright misogynistic takes about Sharon, though the “stan” corner of the internet is mind-numbing to begin with). And yes, I will continue to pick this bone until it snaps, because it is frankly infuriating. Sharon’s writing in the MCU has been and continues to be lazy, though—as with Winter Soldier—it seems the easiest thing in the world to slot her in on “Team Cap” and give her a more substantial role other than “designated love interest” who gets “strong woman” qualities such as fighting prowess so Marvel can pretend they’ve written a good female character. I will, in fact, stay mad. (If you think this is bad, wait until Avengers: Endgame.)

After the two sides, sans Sharon, fight it out, Steve and Bucky escape to Siberia to catch Zemo and those who didn’t sign the Accords get shipped off to the underwater prison known as The Raft. Rhodey, having been inadvertently injured by Vision, gets over his paraplegia very quickly with the help of fancy Stark technology. The brief disability representation was nice while it lasted, though it never really got started. Tony realizes that Bucky has been framed for the UN bombing, gets Steve and Bucky’s whereabouts from Sam, and goes rogue, ignoring Secretary Ross’s wishes.

Yet when the three of them arrive in Siberia, they discover that Zemo hasn’t let out Bucky’s fellow superhuman assassins. In fact, Zemo has killed them all while they were in cryosleep. He never intended to unleash them on the world, only lure Tony, Steve, and Bucky here so he could end the Avengers that ended his family. “An empire toppled by its enemies can rise again. But one which crumbles from within? That’s dead… forever.” 

But how to topple an empire full of superheroes? You can’t beat them physically, so you appeal to their emotions. Tony has never been entirely emotionally stable even at the best of times, especially when it comes to his latent feelings of guilt and even more so when it concerns his relationship with his parents, and Steve has shown that he’s willing to go to the ends of the earth to protect Bucky, so the revelation that Bucky not only killed Tony’s parents on December 16, 1991, but that Steve purposely withheld this information from Tony, is the perfect storm that throws these unshakeable Avengers into a tailspin. The ultimate showdown isn’t about the Accords themselves, but Tony’s grief over his parents, his guilt over his failure to express his love for them, Steve’s drive to protect the only old friend he has left, and the clash that these conflicting desires cause. 

Civil War is perhaps Marvel’s most personal movie. In the end, it’s just Steve, Bucky, and Tony, duking it out in an abandoned Hydra base in Siberia. That’s about as personal a finale you can get at Marvel, and it anchors the final confrontation in frighteningly understandable human impulse: it’s not the world ending, it’s just yours, and sometimes that can feel even worse. There are no Chitauri or robots, there is no Hydra or Mandarin, just two friends (and a brainwashed assassin) that hurt each other in different ways.

While it certainly makes for an affecting climax, the pivot to an intensely personal battle means that the political nuance that Civil War set itself up for gets left by the wayside: Tony and Steve’s differences on the Accords become forgotten in the wake of the revelation about Tony’s parents, and so any true ethical examination of said Accords gets tabled for another day. Civil War discards that which made it unique in the first place—attempting to address the ramifications of its predecessors—in favor of a more personal approach that, conversely, makes the film more unique than standard MCU fare, so we are at net zero. Both impulses are welcome in the MCU, but perhaps they would have worked better in separate films, rather than one replacing the other. Still, in a somewhat homogenous cinematic universe, you get credit for trying, and Civil War uses its solid performances and character beats to elevate itself to the upper echelons of the MCU.

The effects of Civil War are all but gone after the first act of Avengers: Endgame, and the existence of the Accords has, so far, barely changed a thing about how these heroes operate, but Civil War almost makes the illusion of change real. It certainly affects Avengers: Infinity War, where our heroes’ divisions keep them apart and ensure their loss, but otherwise, while the Accords’ existence makes Civil War one of the more compelling Marvel movies, they remain largely inconsequential. Marvel was never going to seriously examine the political ramifications of its heroes’ existence because the foundations of its universe would collapse, but it was certainly nice to pretend for a while.

Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • This marks the first appearance of The Raft, which will pop in and out of the MCU whenever they need a place to store a villain for a while in case Marvel wants to reuse them.
  • Certain Avengers: Endgame set photos sent everyone into a tizzy about how Tony’s B.A.R.F. (binarily augmented retro-framing) technology would come back into play and help the team find hints about the Infinity Stones or whatnot. This did not happen.
  • Natasha says, “You could at least recognize me” when fighting Bucky, leading some fans to speculate that future MCU movies could expand on their relationship—in the comics, they have a storied romantic history that begins when Natasha was first in the Red Room and Bucky was brainwashed by the KGB—but alas, this never happened, and so Natasha was only referencing The Winter Soldier. If Marvel had gone down this route, though, it would have been easy to elaborate on this.
  • It’s hard to think of specific groundwork/easter eggs when the whole movie is basically setting up what’s to come: it introduces Black Panther and Wakanda, Spider-Man, Everett Ross (Martin Freeman), reintroduces Thunderbolt Ross (no relation to Everett), splits the Avengers for Avengers: Infinity War, sends half of the team on the run, etc. There aren’t that many offhand references to things that will come down the line: they’re all in plain sight.

Anna’s Favorite Scene: “Can you move your seat up?” “No.” That’s not really a whole scene, though, just a couple lines, so my favorite scene might be T’Challa stopping Zemo from killing himself. It wonderfully encapsulates T’Challa’s arc in this movie, and is an affecting and quiet moment before the big Cap vs. Iron Man beatdown.

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy, 4. The Avengers, 5. Captain America: The First Avenger, 6. Iron Man 3, 7. Iron Man, 8. Ant-Man, 9. Thor, 10. Avengers: Age of Ultron, 11. Thor: The Dark World, 12. Iron Man 2, 13. The Incredible Hulk

Captain America: Civil War Trailer

Captain America: Civil War is currently available to rent and purchase on most digital storefronts, and is streaming on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Oscars 2021 | 93rd Academy Awards Wrap Up

Written by Alexander Reams

After an extended awards season the 93rd Academy Awards have come and gone. While there were some very lovely moments in the show, the broadcast as a whole was a very mixed bag. Without further ado let’s dive into the last big awards show of the season.

I’m just going to address the elephant in the room immediately, putting Best Director in the middle of the show and not saving Best Picture for the end was one of the most idiotic moves The Academy has made in quite some time. The entire point of the broadcast is to celebrate individual fields first and then finish the night with one film being celebrated above all the others. By not doing that, the wins for Chloé Zhao and the entire Nomadland crew were snubbed. I get what The Academy was going for, wanting to end the night with a celebration of Chadwick Boseman’s life with his assumed win for Best Actor. However, as soon as Anthony Hopkins’ name was called, you could feel the collective embarrassment of the showrunners and rightfully so. Putting Best Actor at the end of the night, to only have the assumed winner lose was not only disrespectful to Chadwick Boseman and family, but to Anthony Hopkins as well. He delivered his career best work in The Father and was not celebrated because of the mess that was made by the Academy. 

With that out of the way I want to talk about some of my favorite wins of the night. Starting off with Erik Messerschmidt’s win for Mank. The cinematography of that film was one of the universal praises for that film, every frame is absolutely stunning and I was very glad to see him win. Joshua James Richards and Messerschmidt had been neck and neck all awards season. After the ASC awards that finally seemed to give someone an edge for the race to win Best Cinematography. 

Thomas Vinterberg’s acceptance speech is what won the night for me. I have listened to countless interviews about him talking about the making of this film and in every one of those interviews he discusses his daughter’s death during production which changed his outlook on the film. Vinterberg has been waiting a long time to take the stage to accept an Oscar and was long overdue to win one. You can genuinely see that he loves what he does and values it greatly, and when he began to talk about his daughter’s death I will admit I did shed a few tears. The film can be very disheartening but it’s theme about life as a whole is brutally honest but also hopeful. 

Overall the 93rd Academy Awards had few surprises but the surprises that did occur were near shocking. From Messerschmidt beating Richards for Best Cinematography, to Frances McDormand winning Best Actress, and Anthony Hopkins winning Best Actor over Chadwick Boseman. 

BAFTA 2021 Awards Wrap Up

Written by Alexander Reams

Well the last big awards show before the Academy Awards took place, and while most of the winners were expected, as always there were some surprises. Without further ado, let’s go through the winners. 

Nomadland took home Best Picture after taking home almost every single award thus far, and Chloé Zhao continued her win streak for Best Director. At this point I would say Zhao is a lock for the Oscar, but after last awards season, my confidence in the guilds was slightly broken so it’s hard to say anything is a lock, but Nomadland taking Best Picture and Director is as close to a lock as can be. 

Promising Young Woman expectedly took home the award for Best British Film, and to some surprise, Best Original Screenplay. While you can never count out Aaron Sorkin, I feel that he has lost a lot of steam in this awards season and Emerald Fennell has picked up what Sorkin has lost and is looking like she will be taking home the win for Best Original Screenplay at the Oscars.



After winning most of the awards for Best Adapted Screenplay, Nomadland’s winning streak did not continue here, instead Florian Zeller’s The Father took home the award, giving the film a big push to take home the award. Anthony Hopkins also took home the award for his performance in The Father, beating Chadwick Boseman for what seems to be the first time this awards season. While I am glad Hopkins has gotten some recognition, I don’t think it will be enough to push Hopkins over to win the Oscar against Boseman. 

For the rest of the acting categories, Frances McDormand took home the award for Best Actress for her role in Nomadland, Yuh-Jung Youn won for her role in Minari, who has now become the frontrunner to win at the Oscars. Daniel Kaluuya continued his winning streak for his thunderous role in Judas and the Black Messiah. Something to remember with the Best Actress race is that Andra Day won the Globe, Carey Mulligan won the Critics Choice, and Viola Davis won the SAG award, and none of these women were BAFTA nominees, so McDormand got a big push, but seeing as Davis won the SAG, I would go with her on my Oscar ballot. Thomas Vinterberg’s film Another Round won Best Film not in the English Language, and will most likely continue this streak at the Oscars. Best Animated Film went to Soul as expected, as well as Best Original Score. 

Best Cinematography went to Nomadland, pushing Joshua James Richards ahead of Erik Messerschmidt’s cinematography in Mank, the race is still close but after this I’m leaning toward Richards to take home the Oscar. Best Editing went to Sound of Metal surprisingly, Alan Baumgarten and Chloé Zhao have been battling it out for the award throughout the season, and now with Sound of Metal’s win, that pushes it as a more serious contender than before. Sound of Metal also won Best Sound, at this point I don’t know any other film that could take home the award at this point, the film has runaway with the award.

Mank won in Best Production Design, and Ma Rainey’s Black Bottom won in Best Costume Design and Best Makeup and Hair, all of these were expected wins. Best Visual Effects went to the runaway winner, Tenet, Nolan films have always had an interesting history at the Oscars, but I think Tenet’s win is almost a lock.

2021 Broadcast Critics Choice Awards Preview

Written by Alexander Reams

In recent years, the Critics Choice awards have been a great predictor on what will not only be nominated at the Oscars, but what might win. This year the awards are being given out almost a whole month before the Oscar nominations even come out, on the flipside, voting begins this Friday (March 5), two days later, the Critics Choice Awards happen, which could help the winners and the nominees that have fallen behind in the guilds and other respective awards shows.

BEST PICTURE
– Da 5 Bloods
– Ma Rainey’s Black Bottom
– Mank
– Minari
– News of the World
– Nomadland
– One Night in Miami…
– Promising Young Woman
– Sound of Metal
– The Trial of the Chicago 7

After the (somewhat) surprise win for Nomadland at the Golden Globes, I think that win secured its win for the Critics Choice Awards this Sunday, the only other film I think that could challenge it would be The Trial of the Chicago 7 or Mank.

BEST DIRECTOR
– Lee Isaac Chung: Minari
– Emerald Fennell: Promising Young Woman
– David Fincher: Mank
– Spike Lee: Da 5 Bloods
– Regina King: One Night in Miami…
– Aaron Sorkin: The Trial of the Chicago 7
– Chloé Zhao: Nomadland

The Critics Choice awards have historically split Best Director and Best Picture, so if Nomadland wins Best Picture, then I think David Fincher will win for Mank, and vice versa. Also, quick rant, why is Emerald Fennell even being considered for this category, her direction is the entire reason I believe Promising Young Woman is a mediocre film. Either way, she’s nominated so that should show that she is in the running for Best Director, for some reason.

BEST ACTOR
– Ben Affleck: The Way Back
– Riz Ahmed: Sound of Metal
– Chadwick Boseman: Ma Rainey’s Black Bottom
– Tom Hanks: News of the World
– Anthony Hopkins: The Father
– Delroy Lindo: Da 5 Bloods
– Gary Oldman: Mank
– Steven Yeun: Minari

I think we all have the same winner in mind, Chadwick Boseman, he has been the runaway winner the entire awards season thus far. On the flipside, Riz Ahmed has been the critical darling, so he is definitely one to watch for.

BEST ACTRESS
– Viola Davis: Ma Rainey’s Black Bottom
– Andra Day: The United States vs. Billie Holiday
– Sidney Flanigan: Never Rarely Sometimes Always
– Vanessa Kirby: Pieces of a Woman
– Frances McDormand: Nomadland
– Carey Mulligan: Promising Young Woman
– Zendaya: Malcolm & Marie

The Best Actress race is still a little tied up between Frances McDormand, Vanessa Kirby, and Carey Mulligan, I believe that Mulligan will take it, as she has always been a critical darling.

BEST SUPPORTING ACTOR
– Chadwick Boseman: Da 5 Bloods
– Sacha Baron Cohen: The Trial of the Chicago 7
– Daniel Kaluuya: Judas and the Black Messiah
– Bill Murray: On the Rocks
– Leslie Odom, Jr.: One Night in Miami
– Paul Raci: Sound of Metal

I think with Daniel Kaluuya suddenly emerging as the freight train frontrunner for the Oscar will undoubtedly be taking the award home. The only other competitor is Sacha Baron Cohen, but even he might be too far behind to take home the award.

BEST SUPPORTING ACTRESS
– Maria Bakalova: Borat Subsequent Moviefilm
– Ellen Burstyn: Pieces of a Woman
– Glenn Close: Hillbilly Elegy
– Olivia Colman: The Father
– Amanda Seyfried: Mank
– Yuh-Jung Youn: Minari

This season’s Best Supporting Actress race has been a very complicated one, but Glenn Close is who I think will be taking it home as a career win. Possibly Yuh-Jung Youn for her role in Minari, but in America she is relatively unknown and this is an American critics group, I’d lean towards Close in my predictions.

BEST YOUNG ACTOR/ACTRESS
– Ryder Allen: Palmer
– Ibrahima Gueye: The Life Ahead
– Alan Kim: Minari
– Talia Ryder: Never Rarely Sometimes Always
– Caoilinn Springall: The Midnight Sky
– Helena Zengel: News of the World

Helena Zengel has been getting a lot of acclaim for her role in News of the World, and will most likely take home the win. Her only competition is Alan Kim, who also has been getting a lot of acclaim for Minari.

BEST ACTING ENSEMBLE
– Da 5 Bloods
– Judas and the Black Messiah
– Ma Rainey’s Black Bottom
– Minari
– One Night in Miami
– The Trial of the Chicago 7

The Trial of the Chicago 7 has one of the best casts of the year, and all of them give fantastic performances as an ensemble, and will undoubtedly win the award.

BEST ORIGINAL SCREENPLAY
– Lee Isaac Chung: Minari
– Emerald Fennell: Promising Young Woman
– Jack Fincher: Mank
– Eliza Hittman: Never Rarely Sometimes Always
– Darius Marder & Abraham Marder: Sound of Metal
– Aaron Sorkin: The Trial of the Chicago 7

The original screenplay award is very tied up, but Aaron Sorkin just got a huge boost from his Golden Globes win, which I think will put him ahead of Promising Young Woman and Mank.

BEST ADAPTED SCREENPLAY
– Paul Greengrass & Luke Davies: News of the World
– Christopher Hampton and Florian Zeller: The Father
– Kemp Powers: One Night in Miami
– Jon Raymond & Kelly Reichardt: First Cow
– Ruben Santiago-Hudson: Ma Rainey’s Black Bottom
– Chloé Zhao: Nomadland

Nomadland has one of the best screenplays of the year, and will most likely be taking the award home, the only competition being One Night in Miami….

BEST CINEMATOGRAPHY
– Christopher Blauvelt: First Cow
– Erik Messerschmidt: Mank
– Lachlan Milne: Minari
– Joshua James Richards: Nomadland
– Newton Thomas Sigel: Da 5 Bloods
– Hoyte Van Hoytema: Tenet
– Dariusz Wolski: News of the World

While Joshua James Richards crafted some beautiful cinematography for Nomadland, you cannot ignore Erik Messerschmidt’s work in Mank, his gorgeous B&W cinematography of 1930s Hollywood I think will bring home the win for him.

BEST PRODUCTION DESIGN
– Cristina Casali, Charlotte Dirickx: The Personal History of David Copperfield
– David Crank, Elizabeth Keenan: News of the World
– Nathan Crowley, Kathy Lucas: Tenet
– Donald Graham Burt, Jan Pascale: Mank
– Kave Quinn, Stella Fox: Emma
– Mark Ricker, Karen O’Hara & Diana Stoughton: Ma Rainey’s Black Bottom

Mank has some of the best sets of the year and most likely will easily take home this win.

BEST EDITING
– Alan Baumgarten: The Trial of the Chicago 7
– Kirk Baxter: Mank
– Jennifer Lame: Tenet
– Yorgos Lamprinos: The Father
– Mikkel E. G. Nielsen: Sound of Metal
– Chloé Zhao: Nomadland

The Trial of the Chicago 7 has the flashiest editing, and it’s only competition is Tenet, but Chicago 7 will probably be taking home the win.

BEST COSTUME DESIGN
– Alexandra Byrne: Emma
– Bina Daigeler: Mulan
– Suzie Harman & Robert Worley: The Personal History of David Copperfield
– Ann Roth: Ma Rainey’s Black Bottom
– Nancy Steiner: Promising Young Woman
– Trish Summerville: Mank

Mank or Ma Rainey’s Black Bottom will be taking it as critics groups love a good period piece and they have the most lavish costume design.

BEST HAIR AND MAKEUP
– Emma
– Hillbilly Elegy
– Ma Rainey’s Black Bottom
– Mank
– Promising Young Woman
– The United States vs. Billie Holiday

Most likely Ma Rainey’s Black Bottom will be taking this for transforming Viola Davis as the titular character.

BEST VISUAL EFFECTS
– Greyhound
– The Invisible Man
– Mank
– The Midnight Sky
– Mulan
– Tenet
– Wonder Woman 1984

The Midnight Sky or Tenet will be taking this one, no contest.

BEST COMEDY
– Borat Subsequent Moviefilm
– The Forty-Year-Old Version
– The King of Staten Island
– On the Rocks
– Palm Springs
– The Prom

Most likely Borat, will be taking this one because of the politics, but I’d love to see On the Rocks or Palm Springs win.

BEST FOREIGN LANGUAGE FILM
– Another Round
– Collective
– La Llorona
– The Life Ahead
– Minari
– Two of Us

Another Round has run away with this award, plain and simple, and I am definitely okay with that.

BEST SONG
– Everybody Cries: The Outpost
– Fight for You: Judas and the Black Messiah
– Husavik (My Home Town): Eurovision Song Contest: The Story of Fire Saga
– Io sì (Seen): The Life Ahead
– Speak Now: One Night in Miami
– Tigress & Tweed: The United States vs. Billie Holiday

Let’s just say if One Night in Miami… doesn’t take it, I will be shocked.

BEST SCORE
– Alexandre Desplat: The Midnight Sky
– Ludwig Göransson: Tenet
– James Newton Howard: News of the World
– Emile Mosseri: Minari
– Trent Reznor & Atticus Ross: Mank
– Trent Reznor, Atticus Ross, and Jon Batiste: Soul

Trent Reznor and Atticus Ross are ruling awards season with their scores for Mank and Soul. I think they will most likely win for Soul, however I would love to see Göransson win for his career best work in Tenet.

You can connect with Alexander on his social media profiles: Instagram, Letterboxd, and Twitter.

2021 Golden Globes Wrap-Up

Written by Alexander Reams

Well, the Golden Globes have come and gone. However, they have planted some interesting seeds of what seem to be shoe in Oscar nominations, and added some dark horses to be watching for in the coming weeks. 

The biggest surprises of the night were Jodie Foster winning in the Best Supporting Actress category for The Mauritanian, Andra Day winning in the Best Actress; Drama category for The United States vs. Billie Holiday, and my favorite win of the night, Rosamund Pike winning in the Best Actress: Musical/Comedy category for I Care A Lot. Jodie Foster was never in the running for an Oscar nomination, and even her Globes nom was a complete surprise, but now I think she will at least be a dark horse in the Best Supporting Actress race in the Oscars. Most everyone has seemed to forget Lee Daniels middling and juvenile, and quite frankly, terrible film The United States vs. Billie Holiday. Despite most people forgetting about it, Andra Day nonetheless took home the award for Best Actress: Drama, making her presence in awards season all the more prevalent, for some reason. I would’ve much preferred Vanessa Kirby or Frances McDormand take her place on the stage. 

Nomadland winning Best Picture: Drama, and Chloê Zhao winning Best Director was not a big surprise. I was very happy to see her take home both awards, and will continue to root for her winning streak to continue on this awards season. Borat Subsequent Moviefilm winning Best Picture: Musical/Comedy was not a surprise, in the past the HFPA has loved Sacha Baron Cohen as the titular character, while he isn’t doing anything new here, what he does, he does well, and his win for Best Actor: Musical/Comedy was not a shock. Best Actor: Drama of course went to Chadwick Boseman for his career best work in Ma Rainey’s Black Bottom, for which I am very happy to see him getting all this acclaim for his magnificent work. Aaron Sorkin returned to the stage to take home the Best Screenplay Award for The Trial of the Chicago 7, which was one of my favorite films of last year. I’m happy to see him get more recognition as his directing career continues. 

Best Supporting Actor winner Daniel Kaluuya won for his powerful and heartbreaking portrayal as “Fred Hampton” in Shaka King’s brilliant Judas and the Black Messiah, which hopefully after this coming weekends Critics Choice Awards, will pave the way for him to take home the Oscar. Disney’s last offering of 2020, Soul, took home two big awards, Best Motion Picture: Animated, and Best Original Score, now I wholeheartedly agree with its BMP: Animated win. I define a good score as something that sticks with me, and none describe that more than Ludwig Göransson and his phenomenal work for Christopher Nolan’s Tenet, which I believe should’ve taken home the Best Original Score award. Best Foreign Language film went to A24’s Minari. At the Oscars however, this film will not be competing for this award so expect Thomas Vinterberg’s film Druk/Another Round, will be taking the award home that night.

You can connect with Alexander on his social media profiles: Instagram, Letterboxd, and Twitter.

2021 Golden Globes Preview

Written by Alexander Reams

Well folks, it’s that time of year, where all of Hollywood’s best and drunkest get together, have one big cocktail party, and hand out a few awards.

In all seriousness, the Golden Globes aren’t the most prestigious or serious awards show, but they can boost or take away from a film more than people realize. Thinking back to 2019 BC (Before COVID), 1917 did not have much steam, until the Golden Globes where it picked up the Best Director and Best Motion Picture: Drama awards and became the frontrunner to win those awards at the Oscars.

Now this Sunday, February 28, are the 2021 Golden Globes and I’ll be giving my predictions as well as my insight into the upcoming night. 

BEST MOTION PICTURE; DRAMA 
– The Father 
– Mank 
– Nomadland 
– Promising Young Woman
– The Trial of the Chicago 7


These nominees are very similar to what we’ve been seeing throughout the critics awards nominees, with the surprise addition of Promising Young Woman. I agree that Carey Mulligan gives a great performance, but in my opinion it has no place being in this category. Be that as it may, I still think that the HFPA will award The Trial of the Chicago 7 with Best Motion Picture; Drama. My personal pick would be Mank, as my other choice was not even nominated Da 5 Bloods

BEST ACTRESS; DRAMA 
– Viola Davis: Ma Rainey’s Black Bottom 
– Andra Day: The United States vs. Billie Holiday 
– Vanessa Kirby: Pieces of a Woman 
– Frances McDormand: Nomadland 
– Carey Mulligan: Promising Young Woman


Full disclosure, I have not seen The United States vs. Billie Holiday and Nomadland yet, however I believe that the winner will be neither of those films, Viola Davis or Carey Mulligan are who I believe will take home the award, Viola Davis is (FINALLY) getting more and more recognized for her fantastic work, and while Ma Rainey, might not be her best performance, the HFPA has always been about those career wins, and I think this would be another one after her win for 2016’s “Fences”. On the flipside, this is Carey Mulligan’s second nomination for a Globe after a very impressive career filled with fantastic performances so the HFPA might award her since Viola Davis already has won before. My personal pick would be Vanessa Kirby for Pieces of a Woman. 

BEST ACTOR: DRAMA 
– Riz Ahmed: Sound of Metal 
– Chadwick Boseman: Ma Rainey’s Black Bottom 
– Anthony Hopkins: The Father 
– Gary Oldman: Mank 
– Tahar Rahim: The Mauritanian


While I have not seen The Mauritanian yet, I think we can all agree that the Golden Globe Best Actor race is already done, with the late Chadwick Boseman locking it up. Some have said that he is only getting the buzz because of his untimely passing earlier this year, however I believe that whether or not he had passed, he would easily be winning the Globe for his performance in Ma Rainey.

BEST MOTION PICTURE: COMEDY/MUSICAL 
– Borat Subsequent Moviefilm 
– Hamilton 
– Music 
– Palm Springs 
– The Prom



I’m gonna take a quick minute and gush over the fact that a film like Palm Springs is nominated for (what will probably be) its biggest nomination this awards season. Palm Springs is one of my favorite Golden Globes nominations this year. Now the winner? I’m still on the Hamilton train, it took the world by storm, and while Borat might have more of an obvious political statement, I think that Hamilton will be taking the award home. 

BEST ACTRESS: COMEDY/MUSICAL 
– Maria Bakalova: Borat Subsequent Moviefilm 
– Kate Hudson: Music 
– Michelle Pfieffer: French Exit 
– Rosamund Pike: I Care A Lot
– Anya Taylor-Joy: Emma


I’ll keep this short and sweet, the only nominee who could challenge Maria Bakalova in my opinion is Rosamund Pike, whose nomination came out of nowhere.

BEST ACTOR: COMEDY/MUSICAL 
– Sacha Baron Cohen: Borat Subsequent Moviefilm 
– James Corden: The Prom 
– Lin-Manuel Miranda: Hamilton 
– Dev Patel: The Personal History of David Copperfield 
– Andy Samberg: Palm Springs

This Best Actor race is a bit more tied up than its other comedy/musical counterpart, between Baron Cohen, Miranda, and Samberg being the three vying for the award, but in the end I think that Baron Cohen will take it. 

BEST DIRECTOR 
– Emerald Fennell: Promising Young Woman 
– David Fincher: Mank 
– Regina King: One Night in Miami… 
– Aaron Sorkin: The Trial of the Chicago 7’ 
– Chloé Zhao: Nomadland 

The only person who could challenge Zhao at this point is Spike Lee, but seeing as he wasn’t nominated, Zhao is a lock, I’ll be shocked if anyone other than her wins. 

Thank you for checking out my Golden Globes preview, don’t forget to tune into it on NBC at 7PM EST/ 4PM EST.

You can connect with Alexander on his social media profiles: Instagram, Letterboxd, and Twitter.

Episode 91: Raindance 2020 / He Dreams of Giants / A Dim Valley / Nafi’s Father

“Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It’s about expanding how you see the world. I think we live in an age where we’re just hammered, hammered to think this is what the world is. Television’s saying, everything’s saying ‘That’s the world.’ And it’s not the world. The world is a million possible things.”

Terry Gilliam

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of Hillbilly Elegy & Ma Rainey’s Black Bottom and the Raindance 2020 Titles: He Dreams of Giants, A Dim Valley, and Nafi’s Father.

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At this time there are no streaming links for titles this episode

He Dreams of Giants, A Dim Valley, and Nafi’s Father are currently seeking distribution and awaiting a formal release date announcement.

You can read Taylor’s review of Ma Rainey’s Black Bottom here

Ma Rainey’s Black Bottom

Written by Taylor Baker

66/100

Black Bottom starts with a magnetic and memorable opening scene. Viola is at once alluring and gravitational. Her character ‘Ma’ or ‘Ma Rainey’ is a powerful role. She lingers with the viewer long after the credits roll. That distinctive face and sooty make up engulf you. Boseman’s ‘Levee’ is deserving of the attention he’s received. For me though he’s a bit too big and the character a bit too sharp on the edges. I was particularly fond of the understated performance of Colman Domingo. Whose become a favorite of mine over these last couple years following his turn in If Beale Street Could Talk.

Though I’m happy to see August Wilson’s Plays are becoming available to the masses, I can’t help but brood on how much more engrossing, and how much more deeply I might be moved had I seen this live rather than at home. A particular pick I have to nit is the obvious and ultimately drab choice to have a door that leads to nowhere play so crucial to the third act. I don’t mind a foreshadow here or Chekhov’s gun there, but my God that was telegraphed a mile away. Despite my hang ups this is still near the top of the heap in the bevy of award season releases we’ve seen recently and one I’d recommend to just about any viewer.

Ma Rainey’s Black Bottom Trailer

Ma Rainey’s Black Bottom is available to stream thru Netflix

Episode 75: Da 5 Bloods / Babyteeth / Hill of Freedom

“Before shooting I try to observe as much as I can. I don’t want to work with my strong intention, because if you work with a strong intention I think what you do is you repeat what you’ve heard and what you’ve seen in the past. It’s not new. It’s not interesting. So what I try to do is observe and respond to what is given. What is given is more interesting than what I craft by my intentions. Intentions always dangerous for me, always stereotypical-not interesting at all. If I have to work in the line of intention, I will not work. It’s so boring. It would be like I’d be a construction worker, your whole design would be just like a railroad. I need something new, really unexpected things happen every day. Every day something new has to happen, that way I feel alive and want to work.”

Hong Sang-soo

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

On Episode 75 of the Podcast Michael & Taylor discuss their First Impressions of: Palm Springs & Bill & Ted Face the Music and the Titles: Da 5 Bloods, Babyteeth, and Hill of Freedom.

Streaming links for titles this episode

Da 5 Bloods on Netflix

Babyteeth on Hulu

Hill of Freedom is currently available to rent from Grasshopper Films.

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