Here is the P3 Podcast with our conversation after the “pandemic year” Oscars.
Despite most of the movies being available on streaming services, the films up for this week’s Academy Awards ceremony are little-seen. But there are definitely some independent and thoughtful gems to check out before Sunday’s ceremony. Here’s where you can find the eight movies up for Best Picture plus three others which could factor into the winner’s circle:
Minari (On demand) – This movie about a Korean-American family starting a farm in ‘80’s Arkansas is a heartwarming drama. Expect Youn Yuh-jung as the feisty and funny grandmother to get noticed.
Sound of Metal (Amazon Prime) – Riz Ahmed gives one of the year’s best performances as a heavy metal drummer and former addict who is losing his hearing. It features moving characters and some really good sound design.
Mank (Netflix) – Up for 10 awards including acting nominations for Gary Oldman and Amanda Seyfried, this black and white tale of classic Hollywood screenwriting and politics is inspired by the look and feel of Citizen Kane, whose screenwriter’s life it chronicles.
Promising Young Woman (On demand) – Carey Mulligan teaches men a dark lesson in this smart and sassy film blending topical themes about relationships with a bubble-gum pop soundtrack and brightly colored cinematography.
The Father (On demand) – Anthony Hopkins gives a master class performance as a man losing his mind in this drama also starring fellow past Oscar winner Olivia Colman.
Judas and the Black Messiah (On demand) –LaKeith Stanfield and Daniel Kaluuya are both up for the gold for this historical action film about an FBI informant who infiltrates the Black Panther Party.
The Trial of the Chicago 7 (Netflix) – Aaron (The West Wing) Sorkin writes snappy dialogue for an ensemble of 1960’s political protesters including multiple award nominee Sacha Baron Cohen.
Nomadland (Hulu) – Director Chloe Zhao and lead actress Frances McDormand take a road trip across America to discover what truly matters in this fiercely independent and gorgeously filmed story featuring real people discovered along the journey.
These additional three movies have a good chance to take home some prizes:
Ma Rainey’s Black Bottom (Netflix) – The late Chadwick Boseman gives a fierce performance opposite an amazing Viola Davis in this story about a powder-keg of a blues recording session.
The United States vs. Billie Holiday (Hulu) – Newcomer Andra Day is a leading Best Actress contender for playing the title part of the troubled songstress (The same role also got Diana Ross a nomination for an Oscar years ago).
One Night in Miami (Amazon Prime) – Regina King’s directorial debut features Hamilton’s Leslie Odom Jr. in a star-making silver screen performance as soulful singer Sam Cooke.
This is the film that happens after an unlikely pair Meets Cute, after the guy gets girl, after he intercepts her at the airport to go ahead and stay. Set in a gorgeously shot Athens, Greece, as a boozy sun-drenched party paradise, Argyris Papadimitropoulos’ kinetic drama Monday (C+) propels its appealing thirtysomething American expat leads into immediate lust and leaves most of the film for figuring out if they’re even remotely right for each other. Sebastian Stan is magnetic, spry and beguiling as the devil-may-care deejay and vagabond; and Denise Gough is the complete opposite as a plucky but more proper immigration lawyer who is in one of those rebound travel-the-world on a bender type situations. In chronicling this mismatched duo’s fall from an almost too metaphorical Garden of Eden (it’s a fig leaf-free beach in this case), the film plumbs the notion of how a relationship can survive on chemistry and chemicals alone and finds lots of erotic ways to determine if true love can really be skin deep. But the episodes of showing how different the wavelengths each is surfing can be painful and awkward, and the movie’s near-improvised vibe feels a touch incomplete. The filmmakers get points for examining the intoxication of obsessive love but rarely make space, momentum or structure to adequately fill in some of the emotional gaps which would elucidate why these giddy drifters choose to spend time together on any activity other than sex. Because it is set in the exotic milieu of a foreign land with characters somewhat in a toxic fog of trying to find each other, the story becomes more absorbing even as its trajectory appears clear to the audience. Fittingly, it’s all lovely to look at and drink in, but the hangover comprises most of this bittersweet story.
Bryan Coley of REEL Experiences interviews Stephen Brown about a lifelong love of the Academy Awards and this year’s eight Best Picture finalists.
Have you ever had two friends with pretty dominant character traits manage to wear out their welcome? The culmination of Legendary’s MonsterVerse including Godzilla (2014), Kong: Skull Island (2017) and Godzilla: King of the Monsters (2019), Adam Wingard’s Godzilla vs. Kong (B-) pits a pair of titans in an epic showdown, and the result is less than the sum of its parts. Sure, this serving of Tokusatsu delivers its requisite wallop with spectacular effects and compelling global set pieces, but it runs out of imagination pretty sharply. In this installment, Kong clashes with Godzilla as humans lure the primate into the “Hollow Earth” to retrieve an energy source to stop the fire-breathing lizard monster’s mysterious rampages. Even bringing in “a third,” the robotic doppelgänger Mechagodzilla, fails to spice up this relationship. Brian Tyree Henry and Millie Bobby Brown are some of the few humans in the ensemble who get to display even a hint of nuance, and displays of simian sign language provide some brief moments of up-close connection. The scope, the score and epic battle sequences win here, which may just be enough for this kind of movie. It’s ultimately a kaiju-normous action film that delivers on its premise but is unlikely to provide viewers much more than a momentary ape escape.
This film has all the narrative subtlety of a string of Reddit forum comments or one of those propaganda film strips from health class narrated by the gym coach. A message movie has to at least be competently made before a viewer can determine if its ideology rings true, but Nick Loeb and Cathy Allyn‘s Roe v. Wade (F) is so glaringly misbegotten as a motion picture that its multitude of flaws eclipse its POV. The lead characters, played by Loeb and Jamie Kennedy, are doctors who perform abortions with reckless abandon and little regard for the ethics of their medical procedures, and yet somehow they are intended to be the vessels of a breakthrough conversion that what they are doing is not (capital R?) right. The tone is all over the map, and any attempt at irony to make its points is largely lost in a muddled storyline. Predominantly filmed in the color orange to imply the 1970s, the film punctuates its loosely interspersed doses of conspiracy theories and heavy-handed (capital M?) messages with a fictional recreation of aspects of the titular landmark Supreme Court trial itself. None of the proceedings achieves the gravitas its filmmakers are hoping to attain. No actor in the ensemble, not Jon Voight nor Stacey Dash, is done any favors by this meandering script. It’s telling when Joey Lawrence may give the film’s best performance as a conservative law professor, certainly “whoa” casting in anyone’s universe. Freeze frames and jaw-dropping narration, songs that would seem routine in a Borat movie if not meant to literally shock, turgid line readings, music that makes Reefer Madness look understated and a systematic sequence of bewildering choices comprise a film that doesn’t meet the minimum bar. No doubt the creators of this film intended to expose the hypocrisy of those who oppose their view, and most certainly they will decry a liberal coterie lauding films like Never Rarely Sometimes Always and not giving this movie a separate but equal applause. But this film doesn’t do a great service to its agenda and certainly fails as cinema.
Here’s an excerpt from the P3 podcast in talks with Byron James about this year’s Academy Awards nominees.
Like a ghost story or a mystery of memories, a new film with a dementia-plagued protagonist puts viewers smack dab in the middle of his deteriorating mind. Florian Zeller’s handsomely produced and occasionally frustrating The Father (B) takes place primarily in an impeccable flat, and the denizens there are going through rapid melancholy decline and hunkering deeper and deeper behind closed doors. The film depicts a complex Anthony Hopkins who rationalizes the activities and relationships in his life even as his faculties are escaping him. Olivia Colman is moving as the most prominent of the characters surrounding the charming Englishman: a frustrated daughter and caregiver who becomes an engaging foil to the titular subject. Hopkins gives a devastating and forceful performance as a man who feels the rug is consistently pulled out from under him. It’s quite an impressive role and portrayal. The viewers see other characters as he does, sometimes shape-shifting or reacting with confounding responses. It’s a smart drama, well acted; and what it lacks in plot momentum or story immediacy, it makes up in quietly observed intimacy.
It may seem an odd piece of critical feedback for a cartoon, but this one needed more character development. Although splendid to look at and deeply in command of its world-building in a mythical alternate Earth, Don Hall and Carlos Lopez Estrada’s Disney animated film Raya and the Last Dragon (B-) is missing foundational elements, namely clearer characterizations of Raya and the titular last dragon. It’s an extremely exposition-heavy tale with many quirky notions and fantastical details to recommend, but the sumptuous visuals overshadow a color-by-numbers plot line and two meh lead characters. The young heroine, skillfully voiced by Kelly Marie Tran, must travel to the five lands of her world to reclaim missing pieces of a gem that can bring harmony to the planet, and she’s accompanied by a water dragon, voiced by comedienne Awkwafina. From the character’s arrival on the scene, this tacky, talky blue dragon/narwhal/unicorn hybrid is a weak link and not quite as funny as a Disney sidekick should be. She’s the “friend like me” you kinda want to unfriend. The gamified story – spelled out in quite linear fashion – may keep youngsters’ attention on the screen, but it’s all not quite creative or original enough to break through as a classic for the studio. Without the characters breaking out into song, James Newton Howard’s score is nonetheless quite rousing. See it for some wondrous South Asian influenced imagery and enough flights of fancy to make the adventure nominally recommended, but know going in that you may wish upon a star that Raya and her last dragon are more interesting than they are.
The Royal P is painfully clean of inspiration, Your Highness, in Craig Brewer’s fan service filled sequel Coming 2 America (D+). It’s low stakes and low States, all the while firing blanks, as most of Prince Akeem’s story centers on Africa this time around, removing the fish out of water shenanigans which were the main attraction of the first film. Despite the presence of many comic actors, this follow-up is not very funny, relying on occasional bursts of pageantry, bits of whimsy and frequent musical cameos to basically tread water through the low-key variety show filling most of the film’s duration. The plot includes the discovery that Eddie Murphy’s regal character is baby daddy to a Manhattan ticket scalper (the charming Jermaine Fowler, salvaging what he can from a poorly written role), born of a feisty mom (an occasionally funny Leslie Jones), requiring some very brief trips Stateside from what is essentially a moribund melodrama set squarely in the Eastern hemisphere. Much of the film revolves around the princesses of the African kingdom (led by KiKi Layne doing fierce work despite the script) and an oddball Wesley Snipes as some sort of incidental rival villain. There’s so much retread in this cheese Zamunda that it actually resorts to flashbacks from the first film multiple times, just underscoring how old and tired some of its cast and schtick are. The enterprise is rescued at times by some sweet-natured familial moments and some roundabout girl power, plus a glimpse of the barber shop gang with a few zingers about political correctness. Otherwise it’s sloppy seconds all around for a bunch of game performers who aren’t given much to do.