Unless you’ve been under a rock the last two and a half years you surely know that Denis Villeneuve’s Dune is finally being released to both theatrical and home audiences via HBO Max on October 22nd. Like me you may have had some of your most blissful cinematic moments with Villeneuve. From his enthralling detective drama Prisoners to his otherworldly narrating fish in Maelström Denis has constantly shirked convention and brought to life a visual story that feels fresh or an improvisation on the previous tools of cinema. Which is a long way of saying that walking into a Villeneuve film feels very much like walking into a Spielberg. You have expectations, how could you not. And unfortunately those expectations were unmet.
Anyone familiar with Dune knows the moments that are cinematic and has personal moments that are cinematic to them, the ones that played like a filmbook in their heads, whether it’s the thopter rescue sequence on Arrakis, Paul reaching into the box, the hunter seeker sequence, or the siege by the Harkonnen. You will have personally had these sprawling crystal clear visions of cinematic splendor or stark pieces of affecting drama in your head. And that’s precisely where Dune begins to fall apart; nothing feels personal. Intimacy is missing between the audience and the vistas of Arrakis, the characters of Dune, and it’s storyline. From the lack of world building to the poorly framed miniatures on screen meant to erupt as yawning behemoths, even the worlds of Calladan and Arrakis are small. They lack character, their meaning to the audience is clouded and we’re nearly always briskly trotting somewhere new with Paul which keeps us from ever becoming invested in the characters around him, which are the true magic of the world.
Despite the scaling issues, the drop off from Villeneuve’s recent SciFi film collaborators is noticeable. The step down from Roger Deakins in Blade Runner 2049 with some of the best cinematography in the last decade and Bradford Young in Arrival with a intimacy and love sickness that somehow feels woven into the imagery to recent Adam McKay collaborator Greig Fraser is severe. The layered compositions are absent, instead stark cold images hang like laundry on screen, uninteresting and rigid. Obscured by nothing and harshly naked. The images aren’t zhuzhed up, they don’t seem to have been made with an effort to make them more appealing, or framed in a way to exemplify the scale we should feel we’re witnessing. Not just the cinematography but the whole film seems like more than this team was capable of taking on. But I must commend the splendor and effectiveness of Hans Zimmer’s score. Using an assortment of wind instruments to make the sands and billowing winds of Arrakis come to life aurally. With Bagpipes, wind chimes, and what seems to be the sounds of wind itself used in tandem with other musical components. Zimmer schemed out and achieved something big through small choices to conjure the atmosphere of an otherwise meaningless place.
Huge performers like Jason Momoa and Josh Brolin scarcely have a moment of solitude or development. Everything is reactionary, and what brief exposition is achieved is typically narrowly focused on Paul in ways that don’t inform the feeling of the further picture at large. Stephen McKinley Henderson’s portrayal of the Mentat Thufir Hawat is one particularly effective bit of casting that allows one of our era’s great character actors to use his miniscule moments to humanize and embolden the sentimentality of what we’re witnessing. Chalamet is restrained, perhaps those not looking for a 14 year old boy will be more moved by his performance, but with all the other poorly stacked bricks underneath him Chalamet’s Paul fell apart. Over acting in moments and seeming like stone in others. Charlotte Rampling’s Reverend Mother Mohaim thankfully does lots of heavy lifting unquestionably in mere moments. As does Stellan Skarsgård’s Baron Vladimir Harkonnen. Oscar Isaac is sturdy, believable and as you might expect from my previous words underused. In Dune’s case I think it’s safe to say the volume of talent has nothing to do with it’s issues. But rather the strategy at play to employ the available resources.
If I were an audience member inexperienced with the narrative I think I would be lost. Failing to grasp the script or grandeur of the beginning of this otherworldly tale. Unsure of it’s religious names and their meanings, unclear on the topography of Arrakis, the distance of Calladan to Arrakis, where exactly the Empire is located(not to mention what they are), what the guilds are, or how interstellar travel is achieved from the spice. In essence this is nothing more than a proof of concept standard comic book hero origin story. The fact that at the end of the film we’re unclear not only all the things I mentioned but the very reason why Paul appears to be some sort of a religious figure to this planet is presumably an enormous reason why it fails. Frank Herbert’s Dune is a novel built on meaning, stakes, loss, hope, gains, and language itself. The fact that none of those strength are transitory into this representation of the narrative by Villeneuve despite the two additional writers that worked with him raises questions not only about the draft of this film. But the drafts of part 2 and further should they be allowed the chance to make further entries. You can’t remove the heart of Dune and still succeed in telling it’s story.
Perhaps my most biting piece of criticism would be to look at the exposition of Episode 1: The Phantom Menace of Star Wars. How clearly and how effectively it sets up the entire arc of what’s going on with the empire and in comparison how entirely unclear and incidental that understanding is conveyed to the audience, especially those unfamiliar with the sprawling tales of Frank Herbert on which it’s based. I’d also be remiss if I didn’t focus some attention on the bungled enterprise that was bringing Lady Jessica to life on screen. She not only lacks character but seems to be a constantly crying and cold woman. Nearly all we see is her crying, being silent, or harshly instructing Paul. A far cry from the intimacy and confrontations she shares with Duke Leto, Thufir Hawat, and Paul in the first novel. The very moments of the plot where her intimacy and character and complexity come to life have been erased, rushed passed completely without being compensated for. Leaving one to wonder how much is on the cutting room floor and why they would favor a shot of palm trees rather than a sequence under their new citadel on Arrakis that if you’re familiar with you’ll know is one of the most transitory moments of the novel in conveying the character of this mother and son to the reader. Dune isn’t a bad film, but it’s so cold, distant, and unsplendorous that it could be easily mistaken for the next high budget Amazon project that has no staying power. The excruciating wait for Dune did no favors for what was already a middling exercise in adaptation of a storied novel. If anything, maybe now we’ll all have a renewed appreciation for the undertaking of Lynch in his adaptation to tell the whole story (roughly) and establish the Empire and its politics and factions all in one feature. Any way you slice it Dune fails to live up to its expectations, fair or unfair as they may be. We’ll see if Denis gets to make Part Two but for now I’m not counting on it.
Dune releases in theaters and on HBO Max on October 22nd.
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. Are we sure this isn’t a John Hughes movie? (Yes, we are.)
Spider-Man: Homecoming is the sixth live-action Spider-Man movie to be produced since 2002. A decade after the original Sam Raimi Spider-Man, and only five years since Spider-Man 3, Marc Webb directed The Amazing Spider-Man, closely followed by The Amazing Spider-Man 2, which performed well below expectations and quickly tanked the burgeoning Sony Spider-Man universe. (For a refresher on Spider-Man rights and Sony, click here.) So, finally, we wind up here: Spider-Man: Homecoming, directed by Jon Watts and starring Tom Holland as the titular web-slinger, finally a member of the MCU. It really did feel like a homecoming, and to have Spidey folded into the MCU proper seemed a much better use of his character than Sony’s floundering attempts to make their own universe (though Marvel being forced to rely on their lesser-known characters such as Iron Man to kick things off certainly helped keep them on their toes as they started this endeavor). But how to differentiate this Peter Parker from Tobey Maguire and Andrew Garfield?
The first answer: ditch the origin story. Have Peter’s parents and his uncle Ben be long dead. There’s no “with great power comes great responsibility”—we got our version of that in Civil War, but from Peter himself: “When you can do the things that I can, but you don’t, and then the bad things happen, they happen because of you.” Everyone had been inundated with Spider-Man origin stories for a decade-and-a-half. Everyone knew Peter Parker’s parents died in a plane crash, and that Uncle Ben bit the bullet afterwards. By respecting the intelligence of his audience, Jon Watts trimmed any excess fat so we could jump right in with Peter (of course, Peter’s appearance in Captain America: Civil War helped, making doubly pre-established by both pop culture at large and the MCU).
Who is our Peter, though? His origin story might be cut, but is he just going to go through the same plot beats as his predecessors? And so we arrive at the second answer: have this Peter actually act like a 15-year-old. Tobey Maguire and Andrew Garfield were 26 and 27, respectively, when they first played their Spider-Man, and by their later entries they were 30 and older. Tom Holland was 19 when he was first cast in Civil War, and his small stature and bit of a baby face let him pass as a high schooler much more easily than Maguire or Garfield. But it’s not just his appearance that makes MCU Peter seem so much younger than his counterparts: it’s him getting excited over a LEGO Death Star, jumping on the bed, awkwardly trying to impress the girl he likes, struggling to look intimidating to criminals, walking down the halls and seeing excruciatingly awkward student news, making a jumprope out of web when he gets bored.
He even starts the film by making a vlog about his time in Germany during Civil War, and if his overeager, fast-talking nature doesn’t immediately win you over, then I don’t know what to tell you. Bright-eyed and bushy-tailed, Peter jumps at the chance to be an Avenger, and even after months of no contact from either Tony Stark (Robert Downey Jr.) or Tony’s head of security, Happy Hogan (Jon Favreau), he still bolts to get into his suit after the last bell rings and leaves long voicemails for Happy detailing the bicycle thefts he stopped that day. The realization that he’s just a kid is almost overwhelming, especially when he’s silhouetted against the enormous backdrop of New York City.
His interactions with Tony and Happy provide the third answer on how the MCU sets their Peter apart: have him immediately connected to the universe at large. This is a solo movie, but it’s one that never lets you forget you’re watching an interconnected world, as Peter spends so much of his time trying to live up to Tony Stark (Robert Downey Jr.). Grappling with the expectations of the adults in his life not only gives Peter a good arc and characters to butt heads with, but also reminds everyone that there is a world outside. (Chris Evans also makes a cameo in his ridiculous, ear-less suit from The Avengers that perhaps eclipses even his Loki impersonation in Thor: The Dark World.)
Peter has been spending a bit too much time thinking about the world outside, though, to the point where he even quits his last remaining extracurricular, the academic decathlon, much to the chagrin of his friend, Ned (Jacob Batalon), and the team captain, Liz (Laura Harrier), whom Peter has a raging crush on. Luckily, the MCU has never been one for secret identities and the long, drawn-out dramatics they entail, and so Ned finds out very quickly about Peter’s double life, though it’s still hidden from Peter’s aunt May (Marisa Tomei) and the rest of his classmates, including bully Flash Thompson (Tony Revolori) and loner Michelle Jones (Zendaya).
Despite Tony’s advice to be a “friendly neighborhood Spider-Man,” we can’t watch Peter eat churros on rooftops all day, and so Peter soon stumbles upon a weapons deal between Jackson Brice (Logan Marshall-Green), Herman Schultz (Bokeem Woodbine), and Aaron Davis (Donald Glover); however, these weapons are no ordinary guns. Peter confronts Brice and Schultz after they pull their weapons on Davis, and a merry chase ensues that lovingly rips off Ferris Bueller’s Day Off.
Soon, however, a Vulture sweeps down from the sky, and Peter gets introduced to the film’s villain, Adrian Toomes (Michael Keaton, who loves playing his bird-inspired roles). Toomes, as with so many Marvel villains, owes his origin story to Tony Stark: he and his salvage company were hired to clean up New York after the events of The Avengers, but when Tony partnered with the U.S. government to assist the efforts, the Department of Damage Control came in and seized Toomes’ job, leaving him high and dry. Toomes managed to steal some Chitauri technology and create weapons with it, and soon found himself wealthy, with high-powered weapons and a big bone to pick.
Peter only makes it out of this confrontation alive because Tony sends one of his suits to help, but he insists on taking down Toomes himself to prove his worth as an Avenger; after various fun sequences, including a delightful montage of Peter discovering all the high-tech things the suit that Tony gave him can do, he follows Toomes to a weapon deal on the Staten Island Ferry. His overeagerness proves his undoing, however, and in his rush to stop Toomes, he foils an FBI raid (one called by Tony) and fails to stop a weapon from slicing the Staten Island Ferry in half, yet again needing to be saved by Iron Man.
The ensuing verbal beatdown between the two is a fantastic little scene, with Downey making the most of his very limited (and very expensive) screentime. When Tony calls Peter 14 and he weakly protests, “I’m fifteen,” he absolutely feels 15 in a way that no other onscreen Spider-Man has. He feels very, very small. “This is where you zip it, alright? The adult is talking,” Tony snaps.
Much of Homecoming’s strength lies in its willingness to not only be a superhero film, but a coming-of-age dramedy; Watts does a tremendous job integrating the life-or-death stakes of Spider-Man’s world with the high school drama of Peter’s world (after all, high school certainly feels life-or-death at the time), and the resulting balance is by and large superb. The MCU is at its best and most creative when it stretches the superhero genre and fits it into new shapes, such as Winter Soldier’s political thriller and here, where Homecoming takes a cue from John Hughes. While the other Spider-Man movies were set in high school, they seem only to acknowledge the fact obliquely; here, Watts neatly marries Peter’s coming to terms with his newfound power with his coming-of-age, making them one and the same. They don’t just happen to coincide, they’re entangled with each other, and it makes for a well-structured, more engaging story. (One that even gives Tony some more depth, too: Peter says, “I just wanted to be like you,” and Tony replies, “And I wanted you to be better.” Tony, go to therapy, buddy.)
And so Tony scolds Peter like the child he is and takes away Peter’s suit. Peter, with nothing else to do, begins to pay more attention to his high school life—he even works up the nerve to ask Liz to the homecoming dance, and she accepts. Things seem to be looking up, if not looking as exciting, for our hero. Until, that is, he goes to pick up Liz for the dance and discovers that her father is none other than one Adrian Toomes, a twist that blindsides both the viewers and Peter himself.
The resulting car ride to the dance, as Peter tries to keep his cool and figure out how much Toomes knows, and as Toomes slowly begins to realize that his daughter’s date isn’t just a nervous 15-year-old, is among one of the tensest scenes in the MCU. Keaton is fantastic, and cements himself among the best Marvel villains (the bar is middling, but still): he easily switches from loving father to merciless killer in seconds, and the flicker in his eyes as he realizes Peter’s true identity—and the stoplight changes from red to green—is eerie. He gives Peter one last chance, though, and offers to let him go if he promises to leave Toomes alone. But with great power comes great responsibility, and so Peter ditches the homecoming dance and goes after his date’s father. (We have pretty firmly left John Hughes territory at this point.)
Vulture, like Michael B. Jordan’s Killmonger in Black Panther, is one of those Marvel villains whom the movie has to go out of its way to establish as a murderous bad guy, because otherwise we would sympathize with them too much. When Peter points out that “selling weapons to criminals is wrong,” Toomes retorts, “How do you think your buddy Stark paid for that tower, or any of his little toys? Those people, Pete, the rich and the powerful, they do whatever they want. Guys like us, like you and me… they don’t care about us. We build their roads and we fight their wars and everything… We have to pick up after them. We have to eat their table scraps.”
Everything Vulture says is true. Were he not been attempting to kill a 15-year-old kid, he would be quite reasonable; in fact, he might even be likeable. Yet the validity of his points goes undiscussed—at least in Black Panther, Wakanda found a way to help execute Killmonger’s dream, just in a different way (though the effectiveness of that way—through United Nations bureaucracy—could certainly be questioned, and how exactly they plan to eliminate oppression remains vague and politically formless); here, neither Tony nor Peter acknowledge the root of Toomes’ grievances. They make him a compelling villain, but it would make for a more compelling film if Toomes’ motivations had any effect on Peter. As it happens, they glance off Peter even though they should force him to do some serious self-reflecting on his mentor, especially as Peter himself comes from a lower socioeconomic background, something which typically informs much of his character. But the MCU version of Peter Parker, helped by wealthy benefactors, largely skates around this issue and never disrectly addresses his financial state; in fact, Civil War does a better job at this than Spider-Man’s titular movie, so what could and should cause inner conflict for Peter only serves to make Toomes a more interesting antagonist, doing nothing for his heroic counterpart.
Even if this dynamic gets underexplored (a frustratingly common theme with Marvel films and their villains, but alas), the mano-a-mano beatdown between Spider-Man and Vulture is exhilarating and anxiety-inducing—perhaps even tear-inducing as Peter, having been buried under piles of rubble by Toomes, cries out for help, and we are once again reminded of just how young he is. If Tom Holland was superb at playing the comedy towards the beginning of the movie, he’s even better here: Peter hyping himself up to push away the rubble by yelling, “Come on, Spider-Man!” is not only a reference to this comicscene, it’s a beautiful encapsulation of his character arc in this movie. Even without his fancy suit, even in glorified pajamas and buried under a mountain of concrete with blood caked everywhere, Peter is a superhero. “If you’re nothing without the suit, then you shouldn’t have it,” Tony tells him earlier in this movie. Well, he certainly isn’t nothing, not anymore. (And yes, it’s very interesting that Tony, who relies so heavily on his suit, is pushing his protégé to be more than one. “And I wanted you to be better” indeed…)
Though charged with the unenviable task of reinventing Spider-Man for the third time within 15 years, Spider-Man: Homecoming rises to the occasion with aplomb, bolstered by a damn good performance from Tom Holland—though the franchise and character comes with a hell of a lot of baggage and expectations, Homecoming meets all of them beautifully, smoothly introducing Spider-Man to a new generation of moviegoers while simultaneously setting itself apart enough to appease older fans wary of another rehash. It’s a Marvel movie comfortable enough in its own Marvel-y skin (and free enough of behind-the-scenes drama) to tinker with the formula a bit, and the result is a joyous romp through adolescence with the added bonus of superpowers. What’s not to love?
Groundwork and stray observations: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:
The “8 Years Later” title card at the beginning of the movie caused a lot of head-scratching when it first came out. Adrian Toomes was cleaning up after the events of The Avengers, which was in 2012, and so eight years later would mean Homecoming takes place in 2020, which makes zero sense as it’s supposed to pick up right after Civil War, which came out in and was set in 2016. It was only years later that this wasrectified (sort of), and even then… why don’t you just retroactively change the title card to “4 Years Later”? Is it that hard? How did this happen when you have so much money? I could have fixed it, if only Kevin Feige would hire me! I am available, Kevin!
The principal of Peter’s high school, Principal Morita, is the grandson of Howling Commando Jim Morita from Captain America: The First Avenger, whose picture is on the wall in the principal’s office; both are played by Kenneth Choi.
A painting of Howard Stark (the John Slattery version, not Dominic Cooper) is seen in a mural at Peter’s high school, and a picture of Mark Ruffalo’s Bruce Banner hangs in his science classroom.
The guy (Zach Cherry) who yells at Spider-Man to “do a flip” appears in Shang-Chi during the bus fight and busies himself with livestreaming the fight around him.
Aaron Davis is known as the villain Prowler in the comics and is the uncle of future Spider-Man, Miles Morales. (Donald Glover’s appearance is likely a nod to his campaign to become Spider-Man in The Amazing Spider-Man and his voice role as Morales in the animated Ultimate Spider-Man TV series. Here’s hoping the MCU Spider-Man movies bring him back and don’t let Donald Glover go to waste.)
Jennifer Connelly voices Karen, Peter’s “Suit Lady,” and is married to Paul Bettany, who of course got his MCU start by voicing J.A.R.V.I.S., Tony Stark’s “Suit Man.”
Martin Starr plays Peter’s teacher Mr. Harrington, who apparently went to Culver University in The Incredible Hulk. (This is definitely just one of those coincidences that the Marvel heads just kind of rolled with and said that Starr’s character in The Incredible Hulk was just a young Mr. Harrington, just like how Marvel said that of course that kid in Iron Man 2 was Peter Parker all along. Sure, why not?)
Michael Mando’s Mac Gargan, known as Scorpion in the comics, has a rather sinister (ha ha ha) post-credits scene, but nothing’s come of that (yet).
Angourie Rice plays Betty Brant, though I don’t believe Betty’s name is ever said in the movie, but she’s important in the comics.
My friend Hannah is clearly visible as an extra in the gym and homecoming scenes. She probably won’t ever read this and will never know I name-dropped her, but I did.
Anna’s Favorite Scene: I’m cheating and saying three: the Tony and Peter confrontation after the Staten Island Ferry incident (“Oh my god, it’s Robert Downey Jr.!”), Vulture driving Peter to Homecoming, and the “Come on, Spider-Man” scene.
Last month AT&T announced that they were unloading Warner Media to Discovery for $43 billion after less than three years of merging with Warner Media. This also comes after a lengthy battle with the U.S. Court of Appeals for antitrust claims and a bungled roll out of HBO Max. With the merger with Warner, Discovery is looking to combine their newly released streaming efforts, Discovery+, with HBO Max. I say all this as a precursor to discuss what Space Jam: A New Legacy is. It is a cynical piece of work emblematic of the larger problem within the media industry, art being constructed as content and pre-existing IP as the only cache.
This is not to say that the original Space Jam was not a cynical piece of art when it was released. The film was constructed from a popular Nike commercial that paired Michael Jordan with Bugs Bunny. The results were an exercise in branding building for both entities – Michael as the most popular athlete on the planet and returning to basketball and the Looney Tunes with their resurgence in popularity with reruns filling up time slots on the newly created Cartoon Network.
It was a surprise then when the online reactions to the trailers of Space Jam: A New Legacy acted as if the film was an affront or a mockery of the legacy of the original. If anything, the new film is the perfect 2021 follow-up: a bloated film that prioritizes corporate synergy and brands over anything of artistic merit. Lebron James, who has been dogged by comparisons to Michael Jordan throughout his NBA career, is also the perfect successor to Jordan, not only because of his basketball prowess. Jordan was the first athlete that truly capitalized on licensing his name and image as a marketing tool. James, taking a cue from Jordan, has become a mogul of far greater magnitude. His empire includes endorsements, sport franchises, production companies, and restaurants.
There really is not much to say about Space Jam: A New Legacy. As a movie it is nothing. It is bad in what it represents and competent but uninteresting in everything else. Lebron James plays a fictionalized version of himself who hopes his son (Cedric Jones) would follow in his footsteps in basketball, despite his son’s proclivity towards video game design. Meanwhile, a sentient Warner Bros. AI named Al-G Rhythm (Get it: Algorithm), played by a game Don Cheadle, wants to use Lebron James’ fame to lure the public into his virtual reality. To do so, Al-G uses Dom’s resentment towards his father and a basketball game in order to trap Lebron. Lebron must team up with Bugs Bunny and the rest of the Merry Melodies gang to beat him.
As one can imagine, the plot is really a serving dish to the antics that could be drummed up from Lebron James interacting with Bugs Bunny. The result is nothing interesting. But it is curious as to the consistent meta-narratives that these giant corporations drum up for these films. As James is being sucked into the virtual reality, he zooms past planets designated as IP worlds – DC, Harry Potter, The Matrix, and inexplicably Casablanca. It is a real testament to how Warner Bros. views the property that they own. And to have the main villain be a sentient soulless algorithm underscores a self-critique that goes unexplored.
Instead, the film tries to root itself in a hollow message about family – whether it is the Looney Tunes or Lebron and his son. The Looney Tunes themselves have never felt so rudderless. In a movie that should’ve been a celebration of them during a period when their cultural influence is at its lowest, they seem like an afterthought for more important IP’s. At one point a character is involved in a parody of The Matrix that seems out of 2001, until I remember that Matrix 4 is due to be released in Q4 of this year.
Is there a good movie to be made here? Possibly, but Warner Bros. was never going to let that happen. Originally, the film was announced to be written and directed by idiosyncratic filmmaker Terence Nance. Maybe he could have produced something interesting and self-critical. However, while he still has writing and producing credit on the film, Nance was replaced by director Malcolm D. Lee, a safe choice whose career is defined by his workmanlike mediocrity. Lee directs the movie as such. There is no personality, no soul.
Ultimately, this is not a Space Jam: A New Legacy problem. This is the corporate world of movie studios. As more studios create their individualized streaming platforms, movies become an advertisement for subscriptions. Space Jam started out as an ad for sneakers. And now A New Legacy is an ad for HBO Max. What a fitting full circle.
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 theRocks 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.