Reel and Roll's 20 Best Films of 2019

Still quite a few films to see from the backlog of 2019 releases I've yet to had access to via cinema, festivals or online streaming, and have a fairly hectic late December and early January in store; but for the timebeing I can field a fairly strong field of 2019 releases as my top 20 so, why not? Full list of all the 2019 films I've seen so far here: https://boxd.it/4mnf0

Honorary Mentions: Ready or Not, Honey Boy, Pain and Glory, Marriage Story, Dolemite Is My Name, Hustlers 

20. Monos 

This Colombian entry to the 2020 Oscars is quite the lurid war drama, essentially Lord of the Flies if those kids were a bit better organised in their antics, focusing on a bunch of young commandos watching over a POW (Julianne Nicholson). Unsettling and grim throughout without much levity, this is not the most pleasant viewing experience but it definitely is an achievement in atmospheric filmmaking, drawing you into this starkly unpleasant little bubble of its guerrilla soldiers and slow-burning in its escalation of the stakes. I wouldn't recommend it to a casual viewer but it's certainly an interesting experiment that's worth a try if you're looking for something a bit different.

19. Wild Rose 

Jessie Buckley in a few years span has gone from BBC talent show contestant to starring in everything from stellar supporting roles in the hit series Chernobyl and War and Peace to her incredible leading turn here in this musical drama. The film is pretty much a showcase for her talents not just as an actress but as a country singer, playing a Glaswegian ex-convict and single mother of two pursuing her dream of Nashville, and she delivers with a true star making turn that dominates the screen every time she's on, and the film itself does a good job within the expected formula, avoiding the romanticisation of Rose's artistic plight, and the various covers of songs and the original song 'Glasgow (No Place Like Home)' are all highlights.

Direction: B
Acting: A+
Screenplay: B
Cinematography: B
Editing: B
Music: A +

18.  Once Upon a Time in Hollywood 

Surprisingly low on the list perhaps, but I'll admit that I was and still am somewhat disappointed with this film, being a massive Tarantino film buff and all, but that doesn't mean it's a bad film, far from it. It's entertaining throughout, solid performances across the board with great chemistry between DiCaprio and Pitt, and some brilliant sequences like QT dabbling in horror with the Manson family and that glorious, cathartic revisionist history showdown. On the whole however it just lacks that extra bit of something special to its screenplay and execution that makes most of his other work click, and in fact I'd say it's the weakest of his most recent work in that it does feel a bit overlong and indulgent in places. It's admirable to see QT change up the pace of his work to something more subdued but where that side of him is concerned I greatly prefer say, Jackie Brown to this, as it's really in the more 'ridiculous' bits that I think this film truly clicks.

Direction: A -
Acting: A 
Screenplay: B 
Cinematography: A -
Editing: B -
Music: A

17. The Nightingale

Warning: this is perhaps the most disturbing film I've seen all year. Australian director Jennifer Kent does NOT hold back in this nightmarish tale set in a 19th Century British penal colony where an Irish convict (a very impressive Aisling Franciosi who you may remember for her brief appearance on Game of Thrones as Lyanna Stark) suffers great injustices by some nasty British officers and proceeds to seek revenge with the help of a Aboriginal tracker (newcomer Baykali Ganambarr). Occasionally steps too far into 'exploitative shocks' territory but when the story really gets going so does the film, with some brilliantly horrific sequences and equally tender moments that create an uneven, but consistently compelling narrative. Could easily move up the list with a re-watch,

Direction: A
Acting: A 
Screenplay: B +
Cinematography: A -
Editing: B 
Music: B +

16. A Beautiful Day in the Neighbourhood 

Tom Hanks as Mr Rogers is the main selling point for Marielle Heller's latest, and he is indeed perfection in the role, exuding that very particular sort of affable charm and sensitivity to the man while also delving into how he's also very human and one of us in many ways. Outside of him I'd say this is a good film, innovative in its narrative structure and while the central storyline of reporter Lloyd Vogel (an excellent Matthew Rhys) is a tad bit predictable, it is well done in its predictableness. It's not a groundbreaking masterpiece or anything but a sweet little film that never steps into overt saccharine territory.

Direction: A -
Acting: A +
Screenplay: B 
Cinematography: B
Editing: B +
Music: B +

15. Us 

I'll admit that I've developed some reservations for Jordan Peele's sophomore effort with regards to its screenplay, which is unfortunately just not as taut and effective as Get Out, floundering a bit with the points it tries to make and the eventual resolution. Having said that it's still a very good, occasionally great, horror/thriller with some great shots and welcome shots of comedy, a brilliant score that incorporates rap and horror music, and above all an amazing performance by Lupita Nyong'o who in a deserving world would be the top contender for Best Actress.

Direction: A 
Acting: A +
Screenplay: B -
Cinematography: A
Editing: A -Music: A +

14. Rocketman 

How annoying is it that this wonderful, delightful biopic of Elton John has been overshadowed by the hype of the far lesser Bohemian Rhapsody? Taking the style of a heightened musical, fitting for the larger than life figure himself, this is in many ways your standard musical biopic, but with just so much enthusiasm and energy led by the terrific Taron Egerton pouring all his soul into the role. It's a bundle of joy that to its credit doesn't shy away from John's demons and makes use of his music as an invigorating storytelling device, with the uses of 'Goodbye Yellow Brick Road' and 'Rocket Man' being particularly outstanding.

Direction: B +
Acting: A -
Screenplay: B
Cinematography: B +
Editing: B +
Music: A +

13. Love, Antosha 

The death of actor Anton Yelchin is one of the saddest Hollywood tragedies of recent times, passed away at the tender age of 27 due to a freak vehicular accident. This documentary makes for quite the emotional, cathartic experience as it follows, through interviews with his parents, friends, and artistic collaborators, his journey as the son of Russian immigrants into child actor to burgeoning star in the making. It is a frequently tough watch, yet also in its own way inspiring insight into his unique creative process. A wonderful documentary that makes use of footage, excerpts from Yelchin's journal and his effect on the others around him to create a compelling narrative of a young man living life to its fullest.

Direction: A -
Acting: N/A (though you get some clips of Yelchin's wonderful personal short films)
Screenplay: N/A
Cinematography: N/A
Editing: AMusic: B +

12. Knives Out

Perhaps the ultimate crowdpleaser of the year as I've yet to meet anyone who didn't at least enjoy this modern day twist on the whodunnit. Rian Johnson's follow up to The Last Jedi is perhaps even more daring and mostly lives up to its ambitions, a fun and thrilling ride with an all-star cast led by terrific turns from Ana de Armas and Daniel Craig (who's having the time of his life). It's a gorgeous film to look at too, with grand sets and fast-paced editing and its tongue firmly in cheek. It's just a throughly fun murder mystery, accessible to all and a guarantee of a good time.

Direction: A 
Acting: A Screenplay: A  Cinematography: A
Editing: A +Music: A 

11. Apollo 11

I unfortunately did not get to catch this in IMAX but from what I've heard it's quite the spectacle on the big screen. Whatever medium you're viewing it on, this compilation of archive footage and audio recordings from the first spaceflight from which astronauts walked the moon is a thrilling, immersive experience that is a technical marvel, particularly in its amazing craftsmanship of syncing the footage together to create the experience of the takeoff, space, and the moon. The choice to vary from the usual 'talking heads' approach of the documentary format was a fantastic choice as it lets the images, graphics and sound design speak for itself and draw you into the experiences of Neil Armstrong, Buzz Aldrin and Michael Collins.

Direction: A 
Acting: N/A Screenplay: N/A  Cinematography: N/A 
Editing: A +Music: A 

10. Ford v Ferrari 

Also called Le Mans '66 in many markets (which is probably the more apt title for the story it's telling), this is probably sitting pretty at the top of many dads' Best of 2019 lists. This is in many ways your conventional racing biopic in a nutshell, with a few of the weaker elements in an unnecessary cliched executive antagonist, but otherwise the execution of the tried and tested formula is fantastic. Each racing sequence with Ken Miles (Christian Bale having the time of his life) is incredible on all fronts, and I grew to love the central dynamic that develops between him and Carroll Shelby (Matt Damon), in fact I will say that I was surprised by how much I cared for Bale by the film's end. I will say that it slightly misses the opportunity for one of the best endings of the year had it ended a couple of minutes earlier, it does have a pretty good one in itself.

Direction: A 
Acting: A Screenplay: B  Cinematography: A 
Editing: A +Music: A -

9. El Camino 

I should note that Breaking Bad is required viewing for this film to work, as it's really more of an extended episode , than a standalone film. Vince Gilligan, like with the excellent Better Call Saul manages to make an addition to the great television series without compromising its perfect conclusion, by giving us what is essentially a fitting epilogue to Jesse Pinkman. Aaron Paul hasn't missed a step with the character after all these years and all the callbacks and closure to Breaking Bad threads are great and feel fitting. It's a very satisfying closure to the character but also just a very entertaining film in itself too.

Direction: A 
Acting: A Screenplay: A Cinematography: A 
Editing: A +Music: A 

8. Luce 

Part intelligent assessment of racial representation in America and part revenge mystery, this is a somewhat unwieldy film that sometimes tips the scales too far into the overt, but Julius Onah nevertheless treats us to one of the most intriguing films of the year, with a fascinating titular protagonist. Kelvin Harrison Jr. is excellent as the high school all-rounder whose pitch perfect image comes under pressure from his history teacher (Octavia Spencer), unravelling an increasingly disturbing series of events to his adoptive parents (Naomi Watts and Tim Roth). It works as a taut thriller, but even more so a a commentary on racial identity and the pressures placed upon people through institutions and stereotypes.

Direction: A -
Acting: A Screenplay: A +Cinematography: B +
Editing: A -Music: B

7. The Farewell 

Skilfully avoiding most of the 'indie family drama' tropes that befall its kin, Lulu Wang's semi-autobiographical dramedy is funny, moving and surprisingly complex in its exploration of the clash between Western and Chinese values. With poignancy and humour in equal measure it captures the cultural divide and struggle of its protagonist Billi (a wonderful, against type Awkwafina) and the familial dynamics so beautifully with the endearing ailing grandmother 'Nai Nai' (a fantastic Zhao Shuzhen) at the centre of it all. It may not be your conventional tearjerker in its approach, but be warned that you may well up a bit at certain points. 

Direction: A -
Acting: A +Screenplay: A +Cinematography: B +
Editing: A Music: A

6. A Hidden Life

Terrence Malick is undeniably an indulgent talent, and one can often tell in his films the need to kill off more than his fair share of darlings, but even if it could've been trimmed down by about 40 minutes or so this is a grand return to form for Malick. The story of Austrian conscientious objector Franz Jaegerstaetter is told with a more intimate scope than he's used in awhile, and the film is at its best when it hones in on him and his wife Fani and the loving relationship that is the core of the film. August Diehl and Valerie Pachner are terrific together and while I'll reiterate that there are sequences that are indulgent and overlong on the whole it is outstanding, all strung together by career-best work by James Newton Howard which has been disappointingly disqualified from Oscar contention. 

Direction: A 
Acting: A +Screenplay: A -Cinematography: A +
Editing: B
Music: A +

5. Avengers: Endgame

Well that payoff was certainly worth it, as the decade-long buildup to this grand finale was more than worthy of the grand cinematic universe created by Feige and Co. I have to commend the Russo brothers for pulling out all the stops to making this perhaps the ultimate Marvel film and in my opinion, the magnum opus of the MCU. The three acts allow for the fallout of tragedy, the fun of time travel and the stakes of the final showdown to all get their due, as well as just about every key player to have their own moments. Any little nitpicks I might have had with the film frankly evaporate as you marvel at how the film makes use of the extended universe, the devoted performances, the humour and heartbreak, and that 'Portals' scene is a crowning moment for all involved, Alan Silvestri in particular.

Direction: A 
Acting: A Screenplay: A Cinematography: A 
Editing: A Music: A +

4. Jojo Rabbit

Set in the waning days of Nazi Germany, Taika Waititi's latest is first and foremost the tale of young Johannes 'Jojo' Betzler (a phenomenal breakout turn from Roman Griffin Davis) as he haplessly navigates his way around ineffectual training camps with the help of his imaginary friend Hitler (Waititi himself) - and discovering a secret hidden from him by his loving mother (an immeasurably loveable Scarlett Johansson). As a comedy it certainly hits all the marks with some very funny and downright hilarious sequences that toe the fine line between absurdity and sincerity with gags and puns aplenty. What does take it a step further is that this is also occasionally a very dark, and frequently heartrending film. The film doesn't shy away from the darker aspects of the material, and there's one sequence in particular which hit me harder than any other this year in its sheer visceral impact; yet is also very optimistic and sensitive in its approach to it.

Direction: A 
Acting: A +Screenplay: A +Cinematography: B +
Editing: A Music: A +

3. The Lighthouse 

The most bonkers film of the year and I'm not sure it'll be topped, Robert Eggers' follow-up to The Witch is a beautiful nightmare in the best possible way. With the black and white cinematography and narrow aspect ratio creating the atmosphere of a 20s/30s horror film, Eggers runs with this idea in the deceptively simple yet mad tale of two lighthouse keepers (Robert Pattinson and Willem Dafoe) stationed on a remote island. You can feel the nauseating claustrophobia, the grimy environment in every frame and the burgeoning madness of Pattinson's character swell up, plus some of the best sound design of the decade to amplify these sensations. And it has to be said that the central dynamic of the two characters is just outstanding, with Dafoe in particular giving what could be a career-best turn, which is really saying something.

Direction: A +
Acting: A +Screenplay: A +Cinematography: A +Editing: A +Music: A +

2. The Irishman - review

The final product of years of development hell, including much talked about VFX de-aging (which ends up being an effective enough tool, has resulted in quite the worthy passion project from Martin Scorsese. What The Irishman does for the gangster film genre is looking at the criminal underworld through a different lens by emphasising a slower, more brooding pace and the choice of a relatively passive protagonist, Frank Sheeran: a mob muscle taking orders and taking part in some key moments in American history at the behest of bigger personalities. It should not be taken for granted how brilliantly mounted the film is in every regard, flitting between timelines and tones  through Thelma Schoonmaker's characteristically adept hand, a stunning visual palette and phenomenal performances across the board. The holy trinity of De Niro, Pacino and Pesci is just as good as advertised, with the former two giving their best work in years and the latter skipping nary a beat with his big screen return.

Direction: A +
Acting: A +Screenplay: A +Cinematography: A +Editing: A +
Music: A +

1. Parasite 

It gives me great pleasure to award best film of 2019 honours to yet another Bong Joon-ho home run. The Korean auteur's one of a kind grasp of tone is evident as ever with a thrilling, twisty tale of two families. With a layered screenplay and a watertight acting ensemble, and technical perfection on just about every technical level, particularly with regards to the editing and production design. What's even more impressive is that as it takes you into such unexpected directions, every re-watch grants new perspectives on the story Bong has constructed here as he invests you so much in a story that seamlessly integrates social allegory and dark comedy with a genuine emotional investment in the material, resulting in quite the cinematic concoction. I'm glad it's making such an impact internationally and the awards season as it really deserves it, although it's still crazy to me how South Korea has yet to receive an Oscar nomination for Best Foreign Language film.

Direction: A +
Acting: A +Screenplay: A +Cinematography: A +Editing: A +Music: A +

Golden Globes 2020 Nominations - Thoughts/Analysis

An interesting awards ceremony both in terms of its significance but also occasional randomness that can either stand out as an indication or anomaly with regards to where the awards season is headed. Let's take a look. Bold indicates films I've seen. 

Nearly half of the Motion Picture nominees are distributed by
Netflix - Marriage Story, The Two Popes,  Dolemite is My Name and The Irishman

BEST MOTION PICTURE – DRAMA

1917
The Irishman
Joker
Marriage Story
The Two Popes

Pretty much as expected here, might've expected Little Women to make it in but late releases tend to have a bigger hurdle to getting in at the Globes, which thus bodes well for 1917 solidifying itself as a Best Picture lock. Interesting to note that there are THREE Netflix releases here - putting The Two Popes right back on the contenders list - , so whichever one of these wins will possibly have an impact on who they choose to back most heavily over the next few months. Decent lineup based on what I've seen so far - Irishman was masterful, Marriage Story was strong albeit flawed, Joker was not my cup of tea but can see the appeal - and I can see all of them making it in to the Academy's final 10. Half-expected Richard Jewell to get in, and the snub for Ford v Ferrari hurts its chances slightly.

Will win: The Irishman

Should win: The Irishman 

BEST MOTION PICTURE – MUSICAL OR COMEDY

Dolemite is My Name
Jojo Rabbit
Knives Out
Once Upon a Time in Hollywood
Rocketman

The category is surprisingly strong when it comes to legit Oscar contenders, with Jojo Rabbit and Once Upon a Time in Hollywood having been mainstays over the awards circuit thus far and asserting their status as bonafide contenders, and Knives Out also making a surprising bit of noise. Having seen all five of these films, this is a fine set of choices, having liked to loved all of them, though I do think this might be where Dolemite and Rocketman's recognition will come to a stop, and if Uncut Gems had continued to be placed in this category I definitely think it could've gotten in. Oh yeah and seems like Cats isn't really going to be a thing...yet. *shudders*

Will win: Once Upon a Time in Hollywood

Should win: Jojo Rabbit 

Could legendary Korean director Bong Joon-ho replicate
his Cannes success at the Globes?

BEST DIRECTOR

Bong Joon Ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker

Martin Scorsese, The Irishman

Quentin Tarantino, Once Upon A Time In Hollywood

Another good lineup from what I've seen so far, would be a great lineup if Phillips' BTEC Scorsese flairs weren't put in the same category with the master himself (was rooting for a surprise Rian Johnson nom to mix things up maybe), the other nominees though are terrific, Bong and Marty in particular, and from what I've heard and seen on 1917 so far we'll have nothing to complain about 1917 from the technical level at the very least. The Safdie brothers and Greta Gerwig missing out here could mean something, could mean nothing, but both their films especially the former's Uncut Gems could've used an extra push beyond just the critics awards. 

Will win: Martin Scorsese, The Irishman

Should win: Anyone but Phillips

Is this the year of Judy Garland and the Clown?

BEST ACTOR – DRAMA

Christian Bale, Ford v. Ferrari
Antonio Banderas, Pain and GloryAdam Driver, Marriage StoryJoaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Speaking of Uncut Gems Adam Sandler missing out is both surprising but not that detrimental, at least not towards him specifically, but Christian Bale getting in for Ford v. Ferrari definitely spices things up a bit, even if the film not being nominated for Best Drama could count against his overall chances. Even if he ultimately doesn't get in it means that things are more competitive than it might seem. Pryce needed this to keep momentum, and Robert de Niro missing out for The Irishman is a bit strange considering that the Hollywood Foreign Press Association definitely seemed to embrace the film otherwise. With regards to the quality of the performances here, Banderas and Phoenix were both very good, Bale was excellent in a role out of his usual wheelhouse, and Driver was fantastic, Pryce unseen, he deserves to win this in a cakewalk. 

Will win: Joaquin Phoenix, Joker

Should win: Adam Driver, Marriage Story 

BEST ACTRESS – DRAMA

Cynthia Erivo, HarrietScarlett Johansson, Marriage Story
Saoirse Ronan, Little WomenCharlize Theron, Bombshell
Renee Zellweger, Judy

I'll admit I completely blanked on Judy campaigning in Drama, good thing is that the Globes don't seem to love the film (which is aggressively mediocre), bad thing is that they seem to love her (admittedly quite strong) performance, so we could see a Rami Malek part 2 here albeit without the insane hype of Bohemian Rhapsody. The only other nominee I've seen is Johansson who like her co-star Driver is fantastic, and deserves her nomination and the win, other nominees unseen. Erivo is clinging onto a thin thread with her film underperforming in general and needed this to stay in the mix, while Ronan and Theron are in pretty comfortable positions at this point to continue to put their names in the mix. 

Will win: Renee Zellweger, Judy

Should win: N/A (but I prefer Scarlett Johansson, Marriage Story)

Could Bond and future Bond girl shake things up via one
of the year's biggest crowdpleasers?

BEST ACTOR – MUSICAL OR COMEDY

Daniel Craig, Knives OutRoman Griffin Davis, Jojo RabbitLeonardo DiCaprio, Once Upon a Time in HollywoodTaron Egerton, RocketmanEddie Murphy, Dolemite Is My Name

Terrific quintet of performances here and also, one of the few times where they've nominated five legitimately 'musical or comedy' performances without any cheating. Out of them all I only think DiCaprio has a legitimate chance at an Oscar nomination, though if Murphy wins then the narrative could change, but regardless all five gentlemen give excellent performances, particularly happy to see young Davis get some deserving recognition for his lovely performance. 

Will win: Leonardo DiCaprio, Once Upon a Time in Hollywood 

Should win: Roman Griffin Davis, Jojo Rabbit 

BEST ACTRESS – MUSICAL OR COMEDY

Awkwafina, The FarewellAna de Armas, Knives OutCate Blanchett, Where’d You Go Bernadette

Beanie Feldstein, BooksmartEmma Thompson, Late Night

From what I've seen also a pretty god category, though I wish they'd have gone for Kaitlyn Dever instead of Feldstein (who was admittedly pretty good too). Ana de Armas is a lovely surprise, I doubt it'll translate to much down the line individually but her getting recognition for her performance and helping Knives Out get more traction is only a good thing. Awkwafina continues to maintain a consistent enough presence on the awards circuit and I do think she'll win here (touchwood). 

Will win: Awkwafina, The Farewell

Should win: Awkwafina, The Farewell 

Pitt or Pesci?
J-Lo or Laura D?

BEST SUPPORTING ACTOR

Tom Hanks, A Beautiful Day in the NeighbourhoodAl Pacino, The Irishman
Joe Pesci, The IrishmanBrad Pitt, Once Upon A Time In HollywoodAnthony Hopkins, The Two Popes

Hate to see Willem Dafoe miss out for The Lighthouse which was never going to be a big player at this particular awards event anyway, but oh well. Otherwise the quartet I've seen so far are three terrific supporting performances in my top 5, and an excellent co-leading performance from Pitt. Pacino and Pesci getting in together helps solidify the potential for them to both get into the Oscars together, and maybe Hanks will break his 20-year Oscar spell (crazy isn't it?) Hopkins is a bit of a wild card now, the HFPA clearly loved his film but we'll see if other awards groups share that love. 

Will win: Brad Pitt, Once Upon a Time in Hollywood

Should win: Al Pacino, The Irishman 

BEST SUPPORTING ACTRESS

Annette Benning, The ReportMargot Robbie, Bombshell
Jennifer Lopez, HustlersKathy Bates, Richard JewellLaura Dern, Marriage Story

Some annoying misses, Zhao Shuzen for The Farewell and either of the ladies from Jojo Rabbit would've made for great nominations, but I suppose this is fine from what I've seen so far. Easily prefer Jennifer Lopez's performance over Laura Dern's (never thought I'd be saying something like this lol), glad to see that Robbie is campaigning for a more substantial role as opposed to her minuscule one in Once Upon a Time in Hollywood, Bates could be a thing, Benning looks like her film is really losing steam by the day but could potentially sneak back in to awards season. Florence Pugh for Little Women could be hurt by this snub but I feel like she'll bounce back with a slew of noms soon enough. 

Will win: Laura Dern, Marriage Story 

Should win: N/A (but I prefer Jennifer Lopez in Hustlers to Dern)

Which one of these acclaimed scribes - Quentin Tarantino
or Noah Baumbach - is going to nab a win? 

BEST SCREENPLAY

The Irishman

Marriage Story
Once Upon A Time In Hollywood

ParasiteThe Two Popes

Predictable lineup, not in a bad way at all as the three I've seen are good/great screenplays, with Parasite in particular being the best written film of the year I've seen so far. A miss out for Jojo Rabbit and Taika Waititi, but don't forget that this category is divided into two for the Oscars into Adapted and Original. Expected Knives Out and maybe The Farewell to make an unexpected splash here but the resurgence of Two Popes has cancelled that out. 

Will win: Marriage Story

Should win: Parasite 

Will Thomas Newman win for 1917 two decades after his first nomination
for American Beauty? Is there going to be a Taylor Swift v Elton John showdown?

BEST ORIGINAL SCORE

1917

Joker

Little Women

Marriage Story

Motherless Brooklyn

Thomas Newman could possibly win here en route to potentially being the Oscar success story/rewarded veteran, hopefully it will be him instead of Hildur Ingveldar Guðnadóttir for Joker which while is more deserving of recognition anyway. Marriage Story and Motherless Brooklyn both have pretty solid scores, and the latter I expect could be a potential Academy spoiler. Somewhat disappointed not to see the likes of Avengers: Endgame, A Hidden Life and especially Parasite and Us show up but this isn't a bad lineup so far, and my desired ones probably have some issues with voters over how much pre-existing music is implemented in the score. 

Will win: Joker 

Should win: N/A 

BEST ORIGINAL SONG

“Beautiful Ghosts” – CATS“I’m Gonna Love Me Again” – Rocketman“Into the Unknown” – Frozen 2
“Spirit” – The Lion King“Stand Up” – Harriet

I actually have already listened to the Taylor Swift song from CATS and I do actually quite like it, so far as Oscar bait songs like that go it's a pretty good one. Like the Rocketman choice, not a fan of the Lion King original song, and it's a shame they couldn't have nominated one of the songs from smaller films like "Glasgow (No Place Like Home)" from Wild Rose. 

Will win: “Into the Unknown” – Frozen 2

Should win: “I’m Gonna Love Me Again” – Rocketman

The Lion King was nominated in the Animated Feature
category. Seems like there's room for unnervingly creepy cats after all.

BEST ANIMATED FEATURE

Frozen 2
How to Train Your Dragon: The Hidden World

The Lion King
Missing LinkToy Story 4

A bit of a meh lineup from what I've seen with a couple of decent sequels and a completely unnecessary live-action remake. Honestly don't have all that much investment in this particular awards race. 

Will win: Toy Story 4

Should win: Toy Story 4

Parasite probably and deservedly has this in the bag. Can Pain and Glory and
The Farewell keep gaining awards season momentum? 

BEST FOREIGN LANGUAGE FILM

The FarewellLes Misérables
Pain and Glory
Parasite

Portrait of a Lady on Fire

Now this is interesting, you have the big power player Parasite, Cannes darling and Banderas' vehicle Pain and Glory, and The Farewell which won't be eligible in this category for the Oscars but nevertheless getting in here is a boon. Then there's the French duo which I am very interested in seeing but unfortunately missed my chance at the LF.

Will win: Parasite

Should win: Parasite 

Ranking: Taika Waititi

6. Eagle vs Shark 

A very rough around the edges debut feature with more than a touch of Napoleon Dynamite to it, this quirky rom-com is not without a certain appeal to its central geeky shy protagonists played well by Jermaine Clement and Loren Horsley. I will say that it does have a bit of a misanthropic streak, nothing too major, but which dampens the otherwise quiet simple charm of a lot of the film, and its shifts into the more dramatic aren't the most assured. But when it is just being funny and sweet, it is very funny and sweet, and though in many ways a fairly standard indie it set the tone for Waititi's brilliance to come.

5. Thor: Ragnarok  

Perhaps one of the most 'standalone' MCU films, this is a thoroughly fun romp into the mind of Waititi via Thor, reinvented completely as a character by the increased emphasis on humour, slapstick and wit that amplifies and makes use of Chris Hemsworth's innate comical sensibilities. It is a bit messy in setting up and resolving the whole Ragnarok plot line which frankly is the least interesting part of the film, but everything that happens on Sakaar, from the run-ins with new introduction like the acerbic Valkyrie (excellent Tessa Thompson) Jeff Goldblum's oddball Grandmaster and the ineffectual Korg (Waititi himself), the colourful madcap visuals, and making use of Loki's mischief to great effect. It is a film that works best when it takes itself less seriously and doesn't have to work within the parameters of MCU plotting.

4. What We Do in the Shadows

Now this is Waititi purely going for laughs the whole time with this mockumentary with co-writer and co-star Jermaine Clement, and that's more than fine as though very episodic in nature, this flatmate buddy comedy with the twist of them being vampires is an absolute hoot throughout. Just watching the collection of talent here shoot the breeze as vampires go about their everynight business. With memorable sequences like an angry debate over dishes to learning about technology, to any encounter with their rival werewolves led by a hilarious Rhys Darby, it's a stellar comedy that contains some of the very best of Waititi's humour.

3. Jojo Rabbit 

Possibly Waititi's most daring film yet, and while I still need to ruminate over some elements, I can confidently say that I absolutely loved the film and it's had some of the most viscreal impact of any film I've seen this year so far. For the most part Waititi treats his subject matter - a child indoctrinated into the Nazi mentality in the later stages of WWII - with a certain lightness of touch that never feels schmaltzy or inappropriate but instead gives a very fitting perspective to the young boy's worldview - brilliantly played by Roman Griffin Davis, Johannes 'Jojo' Betzler is our avatar into this colourful and vibrant world that nevertheless doesn't shy from the harsh realities of Germany's situation at the time. The humour, particularly in the form of Waititi's imaginary Hitler, comes rapidly and hits the spot effectively, as does the warmth particularly in the form of Scarlett Johansson's loving mother. When he goes darker, he manages the blend of tone perfectly, and one sequence in particular is just simply devastating. I love the film the more I think about it.

2. Boy 

One of those films that sneaks up on you as you watch it, as what appears to be an enjoyable goofy coming-of-age story is that, but also so much more, in its tale of the titular boy (James Rolleston) reconnects but also gets a wake-up call to the true nature of his father, returned after an extended absence and brilliantly played by Waititi himself. This is undoubtedly a very funny film, with perhaps the most unassuming comedy as most of it very organically springs from the day-to-day low-key pattern of the Maori community, with occasional fantasy interludes of heightened humour as we see the boy's imagination at work. It is also a downright heartbreaking film as it shatters the child protagonist's ideals about his father gradually over the course of the film. It's a wonderful film that honestly I think is a bit underrated in its own way, as it's so much more unassuming than most of his other work, yet also one of his very best.

1. Hunt for the Wilderpeople 

Waititi's magnum opus came in this tale of the New Zealand bush where young Ricky Baker (Julian Dennison) and his reluctant foster father Uncle Hec (an iconic Sam Neill) flee after a series of misunderstandings and misfortunes in the wake of a family tragedy. This oddball buddy comedy is pure comedic gold throughout, mining humour out of everything and every kind you can think of, from the more overt like the overly intense child protection services and another madcap Rhys Darby performance, to more casual asides of the young boy's love of Tupac and his Uncle Hec's frequently annoyance at him. You feel emotionally invested at every stage of the journey of these two, and Waititi's unique sensitivity for his characters is so keenly felt. When he tugs at your heartstrings it not only feels earnt, it does not compromise and in fact amplifies the comedy. A masterful film and honestly with every re-watch, probably one of my favourite comedies of all-time.

The 70s Musical Innovations of 'Cabaret' and 'Jesus Christ Superstar'

The musical had long been a staple of Hollywood productions, from the iconic beginnings of The Jazz Singer to Fred Astaire, to the awards acclaim Singing in the Rain, West Side Story and Oliver, and the double-60s whammy of Julie Andrews in The Sound of Music and Mary Poppins, to name a few of the resounding earlier successes in the genre. The 70s though brought in an advent of altogether unique musicals, of varying styles and quality but a common consistency in innovation and daring. There were more traditional sorts of adaptations like Fiddler on the Roof and absolutely bonkers ones like The Rocky Horror Picture Show, Phantom of the Paradise and Tommy, teenage pop hits like Grease and Hair, and the rise of Barbara Streisand. Of this lot, I want to discuss my two favourites released between the years 1972 and 1973, two very distinct and different musicals which nevertheless took on the format of the musical in a self-aware fashion that only served to amplify the source material: Cabaret, directed by one-of-a-kind dance choreographer Bob Fosse which won a whopping 8 Oscars in the year The Godfather was released, and Jesus Christ Superstar which was the first of many Andrew Lloyd Webber musicals and I'd argue the very best of them (unless the upcoming Cats snatches away that honour!)

The recent miniseries Fosse/Verdon starring Sam Rockwell and Michelle Williams gives some pretty interesting backdrop to the conception of Cabaret from a performative perspective, but here's the gist of what it's about: loosely adapted from both Christopher Isherwood's Goodbye to Berlin and the 1966 Broadway musical, the film is set in 1931 Berlin with the Kit Kat cabaret club establishment at its centre where we're introduced to American burlesque dancer Sally Bowles (Lizza Minnelli) and British tourist Brian (Michael York). A love story of sorts ostensibly occurs but La La Land this aint, as you throw in a charismatic German count (Helmut Griem), a secret love affair between two German Jews, and the Master of Ceremonies (Joel Grey) who presides omnisciently over the narrative as a sort of commentator on the personal drama unfolding in the Cabaret club and the precarious state of Germany at this time in history.

From the opening number of 'Wilkommen' it's quite obvious the approach Fosse and Co. are going for with this musical: surreal, offbeat yet very much grounded in reality. Each musical number bar one takes place within the Kit Kat club, and the emphasis on the 'performative' aspects of each musical number is very strong. What's impressive is that it never feels overly 'stagy', it feels just right for the silver screen, and so much credit must go to the dance choreography for making everything onscreen just sizzle in terms of every dance move, but also the composition in front of the camera, the use of costumes and colours, everything really. It's not hard to see why this dominated the 1972 Oscars technical categories as it's just an impeccably composed films; even if you're not a fan, you can't deny that every single frame is composed to perfection where the music matches the imagery and pacing perfectly. What's just as impressive is the film never loses sight of the smaller more intimate human elements of its non-musical sections, you get a clear sense of the other stories going on outside of the club and the unassuming rise of Nazism in Berlin.

And it has to be said that the Oscar-winning turns by Minnelli, the daughter of Judy Garland herself, and Joel Grey are brilliant, with 'Money Money' being a particular highlight of both their performances. Minnelli herself gets the iconic 'Mein Herr' number which is every bit as deserving of its reputation, and honestly watching the dance moves she and her fellow dancers pull off is just wunderbar; while Grey's performance is particularly interesting as you see how the emcee of the Kit Kat club gradually change and 'tone' himself down in his insults at the burgeoning Nazi party as they become less of a distant joke and more of a grim reality in the making.

Which leads me to my favourite musical number, the one set outside of the Kit Kat club, 'Tomorrow Belongs to Me', a truly chilling scene which opens with an angelic-faced youth singing a lovely inspirational song about seizing the day...before the Swastika on his uniform is revealed and the crowds begin to join in a passionate ode to Nazism. Its a brilliant use of the cinematic form to the musical as it uses such subtle yet effective direction to initially misdirect and create such a big impact with the reveal.

The steamrolling awards success of Cabaret paved way for other ambitious musicals, and Norman Jewison who if you look at his career always seemed to like expanding his range, after the enjoyable adaptation of Fiddler on the Roof decided to take on altogether very different subject matter: a rock musical retelling of the story of Christ. The film is very much a product of its time with its hippy influences extending to its framing device of a dance troupe travelling to a desert to perform the Passion of Christ - as you do I suppose -, which is a way of creating a certain otherworldliness and ambiguity to the narrative. There's a willingness to embrace the oddities of its source material: a number including a particularly weird and off-putting King Herod is extremely entertaining yet I can't imagine would be kept in nowadays (think of the excisions to some of the more 'offbeat' numbers in Les Miserables for example). The sheer daring and weirdness of film possibly resulted in its more scant success on the awards circuit, but in my opinion it is perhaps the greatest film musical ever made for so many reasons.

Musicals are an easy medium to mess things up from a directorial perspective by just focusing too much on the performances and not enough on the ensemble staging. Jewison's direction grants such a vibrancy to each musical number, with the daring approach to make 'Superstar' as BIG as it is, while letting the quieter moments shine,  and the overall grungy desert aesthetic really does wonder in making the story's tone feel very true to both its musical and biblical roots.

It's easy to dismiss acting in musicals - just singing well does the job, one might presume, but there's so much more to mine out of it than just that. The performers in Jesus Christ Superstar don't just sing, they bring so much emotion, character and power to each of their numbers that evokes the power of the story. You have Bob Bingham and Kurt Yaghijian doing a particularly great example of the imposing heavy/snivelling weasel routine with their high-low pitched voice routine that's as menacing as it is entertaining. You have a particularly angelic Mary Magdalene in Yvonne Elliman with perhaps one of the most popular songs from the film, 'I Don't Know How to Love Him' being quite the lovely number - which is later sung by another character in a rather brilliant creative choice; and a unique take on Pontius Pilate in Barry Dennen whose delivery of 'Pilate's Dream' is quite remarkable.

The highlight though is definitely the central duo of Jesus, played by the incomparable Ted Neeley, and Judas played by the incomparable Carl Anderson. The two performers are on entirely different wavelengths in terms of their voices, acting style, and delivery which is absolutely perfect for the two figures who never quite see eye to eye in their goals for their people, and yet have the exact same good intentions. Neeley's Jesus is just a curious odd figure in many ways, unassuming and with a very offbeat voice that is brilliantly used in the iconic number 'Gethsemane', and Anderson gives an absolutely devastating unique take on Judas as not so much a villain as a man driven to committing some particularly exacting betrayals by sincere motivations for the greater good. It's an amazing vocal performance for sure, particularly in his big number of 'Heaven on Their Minds', but also so much more than that.

I love music and I love film but I don't always love musical films - it's sometimes very hard to capture what exactly makes the singing, dancing routines of the stage click on camera. It can very easily come across as pointless posturing or 'why not just save up for the actual musical'. The above two are in my view great examples of how to make a musical film truly click by going beyond just fancy musical numbers and great voices. In Cabaret by embracing the stage roots in its focus on the peformative aspects