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.

Episode 96: Doc Talk Part 5 / Man with a Movie Camera / Making Waves: The Art of Cinematic Sound / Ex Libris: The New York Public Library

“I don’t like to read novels where the novelist tells me what to think about the situation and the characters. I prefer to discover for myself.”

Frederick Wiseman

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

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of Vivos & State Funeral and the Documentary Titles: Man with a Movie Camera, Making Waves: The Art of Cinematic Sound, and Ex Libris: The New York Public Library.

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Streaming links for titles this episode

The Man with a Movie Camera on Kanopy

Making Waves: The Art of Cinematic Sound on Hoopla, Tubi TV, and Prime Video

Ex Libris: The New York Public Library on Kanopy

Possessor

Written by Nick McCann

95/100

It fills me with joy when filmmakers have kids that go on to do filmmaking of their own. Enter David Cronenberg, the king of body horror! His movies over the years raised as many social and thematic questions as they did drain blood out of people. Now comes his son Brandon, following in his footsteps with something that’s as entertainingly gross as it is thought provoking!

The apple doesn’t fall far from the tree. Possessor moves at a methodical pace, slowly building it’s world when appropriate and taking the viewer on an increasingly crazy trip. It leaves plenty up for interpretation. I’m still going over details in my head as of this writing, but I could see some parallels to topics of invasive technology, identity and others. All while the plot goes in a couple of neat and unexpected directions! Even with some parts that are slower than others, nothing feels unimportant.

With the Cronenberg name also comes the trademark bloodshed. Again, Brandon takes nicely after his father. The violence adds to the story rather than simply exploiting content. That’s great on top of the effects simply looking solid in their disturbing nature. This may be some of the best practical work and make-up I’ve watched all year! It’s composed to a degree that reminded me slightly of the tangibility found in 80’s horror. Whether it be shootings, stabbings or other nasty details in between, there’s genuine creativity and craft on display. It’s plain gnarly.

It’s backed up with a good cast that looks well suited for the world they roam. So good that I can honestly listen to them talk cerebral sci-fi for a good hour! Andrea Riseborough once again shines, with her most strung out emotional state that’s felt even in places where she isn’t on camera. I also gotta give props to Christopher Abbot! That guy I genuinely believed he wasn’t the person he was. At a point, his performance only gets better thereon. Jennifer Jason Leigh should not be ignored either, being a reserved foil to Riseborough. Top it off with a delightfully scummy Sean Bean and you really don’t have a weak link on screen. They have strong dialog and interesting characters to take their time with for excellent results.

Cinematography looks incredible, with particularly interesting uses of dead space and PLENTY of psychedelic colors. This combined with the editing gives off a mood that’s intense on a subconscious level. It’s about the ideal joining of Inception and Scanners, in the weirdest and best way I can put it. Just as it should, everything on screen is reflecting the subsurface hectic feeling in the plot. All of it strung along with the menacing drone of the score that had my heart pounding a bit.

This is strange. Possessor is an arthouse horror movie that I actually mostly get and enjoy! It asks many questions and succeeds in following through on its varied concepts. Equally entertaining in it’s shocking bits of carnage as it is ponderous about the bigger picture. Most won’t get it or be really turned on by it, but I’m jiving good with it. It’s a thinking man’s blood fest. 

Highly Recommended.

Possessor is part of the Vancouver International Film Festival 2020 line up.

VIFF Website: https://viff.org/Online/

Tenet

Written by Taylor Baker

86/100

Nolan revisits all the pieces of formulaic ingenuity that have risen him to the pinnacle of non-franchise blockbuster cinema, and it’s fun. The whole time you’re there, it’s a good time. When it’s done, you feel mostly satisfied, but that thing from Inception and Interstellar, the longing for a better understanding of the film. That is absent. The sheer emotional ride of Dunkirk leading you out the doors of the cinema winded, is also absent. But you had a fantastic time keeping up thru the spectacle of it all and seeing glorious movie stars projected on a screen with some of the largest action set pieces you’ll ever witness.

At bottom Tenet feels like a live concert from Nolan. Some of his greatest hits strung together in different ways than they were before. The fun of the premise is assuredly there, but the substance is notably absent. And I think I’m mostly okay with that. But after the runtime I am also filled with a deep longing to see him shoot a walk and talk that doesn’t include exposition in every drop of dialogue.

First trip to a theater in 6 months, it felt good to be back.

PS: While WB is developing shows on HBO based on their blockbuster films in 2020, I’d appreciate them greenlighting a TV-MA show centered around whatever Aaron Taylor-Johnson does outside of what we see in the movie.

Taylor Baker originally posted this review on Letterboxd 08/31/20

Tenet is currently in theaters.