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filmsfromreel · 1 year

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7 Great Films Snubbed at the 95th Academy Awards

This year’s Academy Awards was a controversy-free celebration. Many of the awards handed out went to deserved winners, there were feel-good moments as Ke Huy Quan and Brendan Fraser accepted their awards after years away from the spotlight and there was no doubt that Everything Everywhere All At Once’s historic 7 wins were warranted. But, like all years at the Oscars, there are some omissions that deserved to be included. While we think this year’s winners were a wonderful collection of films, it would be remiss of us if we didn’t talk about some of the great films that were barely included.

1. Decision to Leave

Director: Park Chan-wook | Crime, Drama | Language: Korean

Arguably one of the best film’s from 2022, Chan-wook’s unique Crime Drama solidifies why he’s one of the most distinct Directors working today. The zippy pace and attention to detail are what hook you to Decision to Leave but the Director’s approach to storytelling is wholly unique – even when compared to the films nominated at this year’s Oscars.

Park Chan-wook’s storytelling is akin to that of Paul Thomas Anderson, while they are both dramatically different in style both filmmakers often tell their stories with an enigmatic quality that, although you’re not sure how or why, you are left completely in awe of the talent on show. Decision to Leave may not be as groundbreaking as Oldboy or as pitch-perfect as The Handmaiden, but it still stands head and shoulders above a lot of films released in the same year and while it’s been nominated numerous times over the award season, it feels like a shame not to see it honoured on the big night.

2. The Northman

Director: Robert Eggers | Action, Drama

The only logical reason that Robert Egger’s Viking epic could have been snubbed entirely for this year’s Academy Awards is that it was released so early in the year that it slipped everyone’s minds come voting season. Whether it was the striking score, beautifully constructed sets shot with stunning cinematography, captivating performances not only from the lead Alexander Skarsgard but Nicole Kidman, Anya Taylor-Joy, Ethan Hawke and Willem Dafoe, to the bold and inventive directing, there’s so much worthy of high praise.

Arguably the only aspect lacking compared to Egger’s previous outings is a uniqueness that something like The Lighthouse held – but it’s no excuse for excluding one of the best films of the year from the Oscars, especially when there is so much across the film’s production to celebrate.

3. Nope

Director: Jordan Peele | Horror, Sci-Fi

It’s difficult to pinpoint where exactly Jordan Peele’s newest film fits into the Oscars, potentially for its enigmatic screenplay, wonderful creature design or even for the scene stealing performance by Keke Palmer. But, regardless of where it fits, it seems a shame not to honour such a unique film.

The natural response to seeing one of his films is to compare it to Get Out, the film that won Peele his Oscar and became one of the most important films of the 21st Century. While Nope doesn’t feel as instant in its quality there is good reason to believe that in a few years, audiences will relish Nope for its singularity and also for Peele’s aptitude for storytelling. This is a wonderfully complex, funny and incredibly tense film that despite being snubbed for a lot of awards, will hopefully gather an audience for years to come.

4. The Woman King

Director: Gina Prince-Bythewood | Action, Drama, History | Languages: English, Portuguese

Gina Prince-Bythewood’s historical tale got two nominations at the BAFTAs, one for star Viola Davis’ powerhouse performance and also a nod for the Director herself, leaving to wonder just why it was left out at the Oscars. Davis’ performance, while commanding, was up against a number of fantastic Leading Actress performances this year. But, Bythewood’s lack of nomination seems to be a misstep from the Academy.

There is an argument that structurally The Woman King isn’t much different from a number of action films we’ve seen but what’s more important is the representation and celebration it’s giving to it’s story. In recent years the world has been imploring Hollywood to create more diverse and dynamic roles instead of changing old ones and The Woman King does exactly that. It’s just a shame the Academy wouldn’t celebrate the film as much as we did.

5. Broker

Director: Hirokazu Kore-eda | Comedy, Drama, Crime | Languages: Korean

Many people have compared Hirokazu Kore-eda’s latest film to his 2018 drama Shoplifters. In some ways it’s a spiritual successor (Kore-eda himself calling it a companion piece), skirting some of the same themes of class structure and social standings, as well as the functionalities of family and what makes a ‘traditional’ family. Broker manages to talk about these same issues as well as infusing discussions of parental responsibility whilst keeping the mood light and fun – no easy feat.

Alongside this, Kore-eda somehow manages to make you sympathise with human traffickers – not the most malicious or intelligent, but pursued by the police for their crimes nonetheless. It might not be the home run Shoplifters was, but Broker still manages to inject some incredibly human and joyous moments in a strange tale of selling a child, all in his non-native language of Korean, not missing a step in cultural references either. Whether it was for Best International Film, Original Screenplay, or even an argument can be made for Best Director, the Academy missed a gem of a film this year.

6. Aftersun

Director: Charlotte Wells | Drama

Charlotte Wells’ nostalgic drama is less of a snub due to Paul Mescal’s touching performance getting a nomination, but the film’s quality lies in much more than its performances. At the BAFTAs the director accepted the award for Outstanding Debut and described the film as a eulogy to her Father – something that she achieves with a visceral and subtle reflection of watching someone you love suffer in silence.

As a distinctly British product it’s understandable that this film didn’t shake the Academy voters as much as the BAFTAs, but the film’s gorgeously told story is one of the best of the year. Many films that tell a ‘personal’ story rarely achieve the emotional connection that Aftersun achieves, and while it was a shame not to see more limelight shed on the film as a whole, there is no doubt that everyone will be eagerly awaiting what Wells does next.

7. Bones and All

Director: Luca Guadagino | Drama, Horror, Romance

The most obvious reason for not including Luca Guadagino’s latest film could be the fact it’s a love story road trip about cannibals – but it’s for that same reason it seems like a missed opportunity to open up the wonderfully weird story to the mainstream. With films like Everything, Everywhere All at Once making waves it seems like the Academy are changing their tone to quirky independent cinema, branching into the originality out there.

Whilst it might not have won many awards the performances from Timothee Chalamet, and more notably Taylor Russell and Mark Rylance, are enticing and exciting, bringing a grounded and relatable edge to a story that could have easily been disconnected and unrelatable. Guadagnino balances David Kajganich’s script with ease and a certain aesthetic beauty that many people first noticed in Call Me by Your Name – despite being in an unusual narrative, comes together in an intoxicating (and sometimes terrifying) coming of age tale.

#decision to leave #the northman #nope #the woman king #broker #aftersun #bones and all #jordan peele #robert eggers #charlotte wells #film review #film list #movie review #movie list #oscars 2023 #oscars #academy awards #oscar snubs #filmsfromreel

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filmsfromreel · 1 year

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2023 Best Picture Nominees Ranked From Worst to Best

A late list from us at Reel, but a interesting night with some suprising winners meant plenty of time to reflect and discuss, eagerly anticipating the slate of films this year.

Whether or not you agree with the awards it’s safe to say that this year’s nominees for Best Picture were an eclectic group of films all bringing something different to the table. From franchise epics to dark comedies, from war films to music biopics, you cannot deny the quality on show. But, even though all the films were individualistic, some were better than others. Here is our ranking of the Best Picture Nominees from worst to best.

10. Avatar: Way of the Water

Most of the naysayers of James Cameron’s epic Sci-Fi sequel have been silenced as the film became the 3rd highest grossing film of all time. Absolutely nothing can take away the huge financial success of Cameron’s 3-hour water adventure, but, for all the vast landscapes, exciting action and visual wonder it offers, the film still gets bogged down by what plagued it’s predecessor.

For all its otherworldly qualities the film’s biggest problem is in its humanity. The multitude of characters, and their stories, feel like mere splashes in the ocean Cameron has created for us. While the visuals deservedly won big on Oscar night, there really isn’t enough consistency in Avatar’s vast 3-hour runtime, making the journey feel like a slog more so than the thrill-ride everyone was promised.

9. Triangle of Sadness

Ruben Ostlund’s third feature had early signs it may follow a similar trajectory to the one Parasite had 4 years ago. Winning the Palme D’Or and getting nominated for a number of other awards across the globe, it looked like Ostlund would be celebrating deep into award season for his film. However, with no wins at this year’s Academy Awards, Triangle of Sadness has faded into the darkness as far superior films took the spotlight. This may just be circumstantial but arguably it’s because, despite being captivating in parts, this is Ostlund’s weakest effort.

When compared to The Square and Force Majeure, both of which have an enigmatic quality to their stories, Triangle of Sadness regularly smacks you on the head with its themes. Even when Ostlund is showing us some of the finest direction of the year (particularly in the dinner scene on the boat), it still gets dragged out to the extreme – hitting home ideas that were already communicated 10 minutes before. Having said that, Ostlund remains one of the most interesting filmmakers working today and despite Triangle of Sadness feeling weaker than his other efforts, there are still moments of brilliance scattered throughout.

8. The Fabelmans

The biggest takeaway from Spielberg’s reflective life story is that the Director has never lost his touch. Sure, some of his more recent ventures pale in comparison to Schindler’s List, Jurassic Park and Jaws, but his understanding of the medium and how audiences connect to it are the shining light in The Fabelmans. Scenes in which Sammy Fabelman watches his audience react to his films are wonderfully constructed, making it clear that the legendary director has never lost his love for cinema.

However, this film was always going to border on the self indulgent. If you compare this film to the reflective efforts of Cuarón’s Roma and Brannagh’s Belfast, The Fabelmans struggles to find a core reason to tell its story. Its backdrop dabbles with elements of depression, anti-semitism and bullying but never fully explores them and while Spielberg is telling the story with his heart on his sleeve, it still can’t find a genuine reason for the story it’s telling.

7. Top Gun: Maverick

One of the year’s biggest surprises was the quality on show in David Kosinsky’s sequel to the cheesy 80’s classic. While it still adheres to its predecessors rules of topless sport and needless high-fiving the film’s technical aspects very often leave you in awe. The sound, visual effects and action set-pieces are wonderfully put together to create so much energy and tension – but the most surprising part of this sequel is the emotional attachments it holds to the first film.

Tom Cruise’s performance as Maverick is reflective and softer while never losing the rashness of the character, and the emotional beats between Maverick and Goose’s son (named “Rooster”) win you over every time. This could have so easily turned into just another sequel, but Kosinsky’s controlled direction and modern approach make for a mature follow up that surpasses the original with ease.

6. Elvis

Over the past few years we’ve had a slew of mediocre music biopics, often boasting a great central performance but never understanding their subject, which makes it a delightful surprise to have a film like Elvis come along. Baz Luhrmann took the story of an icon and told it with the energy and glamour that make the Director so distinct. But, what’s even more impressive is how the film understands just how emphatic Elvis Presley was as an icon.

The film is by no means perfect, with Tom Hanks not quite hitting the mark as well as his co-stars, but this should be the definitive blueprint for music biopics to come. From his room-shaking begins to the darker days of his time in Vegas, Elvis tells us the story while never forgetting to inject the passion and personality that made Elvis Presley one of the most iconic performers of all time. Also, it’s impossible not to be impressed by Butler’s spellbinding performance.

5. Women Talking

Sarah Polley’s chamber piece rightfully took home the Best Adapted Screenplay award for her talky adaptation of Miriam Toews novel. The script that Polley wrote is a beautiful balance between character, theme and discussion, lending personality and importance to create one of the most timely films of the year.

While Polley’s script is what shines the most it cannot be understated how important her direction is. Instead of being flashy and overbearing she opts for quiet and observational direction that allows her characters to shine with their own heartbreaking individuality. Like all great chamber pieces, Women Talking densely packs its small setting with so much – leaving you eternally affected by the film’s outcome.

4. All Quiet on the Western Front

Edward Berger’s adaptation of Remarque’s novel takes a modern approach in its filmmaking to really hit home the timeless themes of the classic source material. Every battle scene is wonderfully constructed in order to capture the “War Is Hell” mantra of the film while never losing those individual struggles we see from the leading characters.

There are different threads that the film pulls on that don’t work quite as well as the core story, but these merely provide extra layers to a film that’s already packed densely with story. War films have to really do something special to stand out these days and Edward Berger has ensured that his film stands head and shoulders above a lot of films of a similar ilk.

3. Tár

At times Todd Fields’ near 3-hour character piece can feel strenuous. The script never hides away from the world it’s set in, often allowing long stretches of dialogue about Classical music to play out in front of its sturdy camera, but the film succeeds because of its subtle character evolutions. You’d be quick to dismiss this film as a discussion on “cancel culture” or even the separation of Art vs. Artist, but really what it’s doing is building everything into its central character.

Smartly made and marketed like a biopic, the film takes a grounded approach of talking about people who are considered otherworldly. Every action, conversation and thought Lydia Tár experiences is slowly etching away her mythical persona as one of the greatest composers of all time – until it all implodes in glorious fashion. The film will likely be remembered for Blanchett’s wonderful performance, but there is a quiet complexity to Tár that stays with you for a long time.

2. Banshees of Inisherin

Martin McDonagh’s newest film is arguably his finest work. In Bruges loyalists will always argue against that, but McDonagh’s signature style has never felt more fluid than in Banshees of Inisherin. Not only that, but the razor sharp humour wonderfully compliments the quiet melancholic tone – as well as the allegory for the Irish Civil War.

McDonagh surrounds himself with the familiar faces of Colin Farrell and Brendan Gleeson who, along with the addition of two wonderful performances from Kerry Condon and Barry Keoghan, anchor this film’s themes perfectly. The chemistry seeping from every scene shared between the cast amplifies the humour but also gives the film a sense of community, reaffirming the bigger questions of death and legacy, as well as the impact we have on those around us.

1. Everything Everywhere All At Once

Easily the most original and unpredictable film of the year – maybe even of the current decade – The Daniels’ bizarre vision of the multiverse is told with veteran control. You easily find yourself in awe of the film’s barbaric narrative, but what’s even more impressive is the it’s ability to find so much heart at the centre of its chaos.

Amongst the confetti action, hotdog fingers and hundreds of other elements The Daniels pack into their film there is a quietly controlled narrative between Mother and Daughter, exploring their lack of connection and the solace they find in that shared experience. It’s a narrative that is extremely hard to balance at the best times but doing it with so much craziness surrounding it – as well as challenging a suffering marriage as well – is why this film easily stands as the best film nominated for Best Picture. Everything Everywhere All At Once won big at the Oscars and for the first time ever there isn’t a soul out there that can argue against with the wins.

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filmsfromreel · 1 year

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Wizarding World Universe Ranked Worst to Best

You can listen to our discussion this list on our podcast, available here.

With the release of Fantastic Beasts: Secrets of Dumbledore we thought it would be a good idea to revisit all the films that have come from the Wizarding World Universe. All the way back to 2001 from the franchise's start with Harry Potter and The Philosopher’s Stone to the prequel films we’ve seen in the past few years, the franchise has made billions worldwide and become one of the most beloved franchises of all time. But, with a total of 11 films to its name, just how good are the individual instalments?

11. Fantastic Beasts: Crimes of Grindelwald (2018)

Elements of the second Fantastic Beasts film worked but overall it was a static and oddly paced film that struggled to find its personality. Whatever the first film had done to create a slicker, more adventurous look into the wizarding world felt low on the agenda as Crimes of Grindelwald struggled to find wonder, instead opting for choppy sequences and lengthy scenes of dialogue that aim to shock and allure but merely bore.

One aspect that the Fantastic Beast films have achieved is the interesting exploration of different wizarding eco-systems across the globe, more specifically the fantastical elements of a magical Paris are the highlight of this particular film - it’s just unfortunate that the exploration becomes bogged down by everything else around it. While David Yates could probably recreate the tone of the universe in his sleep by now, Crimes of Grindelwald suffers more from its dodgy pacing and lacklustre story which often leave the final product devoid of anything magical.

10. Fantastic Beasts and Where To Find Them (2016)

Like with most successful franchises Warner Bros. maintained a ‘never say never’ attitude towards the Wizarding World which meant an obvious rehash was inevitable. There was no doubt that something new was going to come after the behemoth franchise made such a stamp on popular culture and it was a nice surprise to see a film that maybe didn’t blow people away, but gave enough entertainment to merit its existence.

The film comfortably paddles in the shallow end without ever really taking a dive into something deeper, the world it is building expands on a world that people know and love and much like the title suggests, explores the interesting creatures in the hopes of finding commerciality. With it mostly being set in New York, the Americanisation of such a British product was jarring but as stated earlier, it was just exploring something new while never daring to go too far. It was a well balanced welcome back into the world, albeit a safe one.

9. Fantastic Beasts: Secrets of Dumbledore (2022)

The newest film to the franchise, Secrets of Dumbledore is by no means perfect. What it does do however, is understand where to grow and how to maintain consistent levels of entertainment. It expands the world into a more political landscape while never sacrificing the ingredients that make the world so entertaining. Arguably its biggest faults are its complete demotion of what seemed like an important story, as well as being unable to find the small moments of literal magic that made Harry Potter so great to watch as a younger viewer.

Sometimes the film feels like it’s rushing through its story despite a runtime of 2 hours 20 minutes, but the reason it’s able to sit above its predecessors is its ability to interject a lot of scenes of fun in and around its more political backdrop. To add to that a new and improved Grindelwald in Mads Mikkelsen, what you have is a film that broadens its world without over stretching, while never forgetting to have a little fun.

8. Harry Potter and the Order of the Phoenix (2007)

It may seem a little transparent to have all eight Harry Potter films in the final eight spots, but the truth is that the newest films struggle to match the originals in a lot of aspects. One is character, the source materials are able to ignite a connection to the characters on screen before the film has even come out and it’s hard to match something that has that advantage. While the characters of the film were well established and beloved in Order of the Phoenix, it’s the tone that makes it the weakest out of the Potter saga.

When the franchise started it felt much more kid friendly, but as the stars got older and the stories demanded more maturity the films had to adjust. The third and fourth instalments are great examples of slow change, moulding to a new style each time but with Order of the Phoenix it felt too dark and gloomy to really capture any kind of magic or humour. That’s not to say it wasn’t an enjoyable film that honours its source material, as well as adding some great actors to it’s cast, but as the franchise slowly ascended to a darker tone and mood Order of the Phoenix felt a little too much.

7. Harry Potter and the Deathly Hallows: Part 1 (2010)

In the latter stages of the franchise when tone was fully established and it was all about story, the studio opted for the Part 1 and 2 split of the final book. While that allowed the final film to flourish, what happened to Part 1 was it became an overly stretched film fighting to justify its 2 hour 20 minute runtime. It was honest to the scenes that fans awaited and ended at a tear jerking part of the story, but long stretches in between felt endless and less than exciting.

This film was always a precursor to the finale, with its intentions much more about establishing anticipation, as well as grabbing the money along the way, rather than being about creating a well balanced film. When the scenes of action do arise they are filled with popcorn entertainment of the highest order, but it is a shame it can’t find the same engagement in its connecting scenes, as well as giving us one of the most uncomfortable dance scenes you’ll see between Harry and Hermoine.

6. Harry Potter and the Half-Blood Prince (2009)

The sixth instalment to the franchise felt like one of the better films to come from the Potter series. It was entertaining, tonally consistent and managed to balance its humour and maturity well. Harry Potter has always been a family friendly franchise and Yates understood that Half-Blood Prince needed to feel lighter, while never allowing the more mature and character defining moments to suffer.

It sits pretty in the middle of the list because, although it’s a good Potter film, it’s not a great one. It doesn’t stick with you as much as the very best do and it does fall victim to some very stale dialogue that even the very best of British acting can’t salvage. However, Half-Blood Prince felt like it captured a tone that would be the benchmark going forward for the franchise.

5. Harry Potter and the Philosopher’s Stone (2001)

The film that ignited the worldwide cinematic phenomenon, Harry Potter and the Philosopher's Stone was a joyous experience for younger ages that was able to capture the wonder of the wizarding world in a very warm way. This is partly because of Chris Columbus' direction, someone who’s experience directing child-driven stories was well established, who visualised the book with a wonderful insight which allowed the film to imprint on popular culture with instant impact.

The first film is by no means perfect, with its three main stars still finding their feet as performers and the franchise still in its infancy, but it still opened up the Harry Potter world to those who hadn’t already experienced it from the books. If you go back now and watch the first film in the franchise you may not find the giddy immaturity or lighter approach as entertaining, but it will more than likely grasp at your nostalgia as you fondly remember where you were when you first experienced the charming world.

4. Harry Potter and the Chamber of Secrets (2002)

Stakes were high when Chamber of Secrets was released, it demanded a similarly lighter tone because of its characters' ages but also demanded a rougher exterior as its story and fantasy became bolder. This one is often regarded as a personal favourite for many people because of the time it was released, but also because it felt like the film in which everyone became sold on Harry Potter as a cinematic icon and not just a literary one.

The performances from its younger actors felt more seasoned and the grizzlier plot points served as the foundations in which the rest of the franchise would follow, add to that a cast of adult actors all having copious amounts of fun with their roles and what you have is a sequel that surpasses its predecessor comfortably. The franchise was always going to be a goldmine, but Chamber of Secrets proved that the Harry Potter story stretched further than the title of a ‘kids film’.

3. Harry Potter and the Goblet of Fire (2004)

Arguably the instalment with the most popcorn entertainment, Goblet of Fire boasted a step away from the usual school life we had seen from the franchise and gave us a new branch of the world with the Tri-Wizard Tournament. Dragons, underwater creatures and a mystical maze were all a part of a film that felt more fun and also broadened in scale.

It was also the first time we got a taste of our main characters feeling the angst and romance of their youth, with Harry getting his first taste of attraction as well as Hermoine and Ron offsetting their awkward relationship. Like a lot of the Potter films, the runtime is a little bloated, but the reason this film is high on the list is its ability to further story and character while never lacking in blockbuster entertainment.

2. Harry Potter and the Deathly Hallows: Part 2 (2011)

You can have the smoothest take off of your life but the most crucial part of any franchise, or saga, is sticking the landing. With the split of the final story across two films the last one was able to really shine with epic proportions. Fans eagerly awaited to see the Battle of Hogwarts chapter be brought to life and the film delivered by making nearly the entire runtime dedicated to magical warfare.

Like all the Potter films the final one isn’t without its hiccups but it manages to find pockets of heroism, humour and sadness amongst the chaos in order to give the multitude of characters their own sense of closure. Very often franchises feel scattered and incomplete but Deathly Hallows: Part 2 allowed Harry Potter to feel well-rounded, bringing the episodic films to one complete halt and giving the franchise some finality.

1. Harry Potter and the Prisoner of Azkaban (2003)

The third instalment to the franchise excelled on multiple levels, as the cast were growing up and becoming adults the style and story had to feel akin to the people we were watching without ever losing the charm that the first two films had. What Prisoner of Azkaban had though was the classy touch of Alfonso Cuarón. A director that nervously approached the project, not being familiar with blockbuster filmmaking before this, and executed a film with a sense of personality that would also please the millions of fans waiting for it.

In a list of Cuarón films ranked this wouldn’t sit too highly, but as a Potter film it surpasses all others in entertainment and precision. Its sense of humour felt maturer and its time hopping climax felt light, not getting bogged down in logic but instead rejoicing in the fun that can be had with such a plot. There is a reason that the worldwide phenomenon has captured so many hearts across the globe, and Prisoner of Azkaban feels like the poster child for everything that is great about the Harry Potter franchise.

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