I hate the word "stan." But I'm stanning the entire PORTRAIT OF A LADY ON FIRE team for walking out because of Polanski's Best Director win at the César Awards.
This was one of the worst Oscars (if not the worst) in its history. Everything was disgraceful, top to bottom: the creative decisions, the bits, the tasteless in memoriam, the production and editing.
#oscars
A friend of mine found a wooden mask in a harbor. It takes him over and makes him green, loud, and mischievous. His wardrobe is now entirely made up of zoot suits, and his dog is worried abot him. This madness can't be allowed to go on.
Part of the reason we’re short on movie stars isn’t necessarily because of a lack of talent. Filmmakers have forgotten how to introduce and frame an actor into a star.
No one knows how to introduce an actor anymore. They just do a bland medium shot and keep it going.
When a filmmaker gets that blank check I will always prefer them making something like BABYLON as opposed to whatever milquetoast idea they think will help them continue getting that check.
When COMING 2 AMERICA drops in March, it will mark James Earl Jones’ seventh decade of cinematic acting, which began with DR. STRANGELOVE.
By including his theater career, it’ll be his eighth decade acting, too. Which first blossomed at the Cort Theater on Broadway in 1958.
👑
Four years later, Barry Jenkins' MOONLIGHT remains the tenderest, most human presentation of Black characters, who in any other film, would've been reduced to cliches. I've never watched MOONLIGHT and not cried. It is the definition of the personal made universal.
John Boyega is doing what Star Wars wouldn't. For my
@Polygon
debut, I explain how Star Wars could've adapted the tradition of Black resistance to make Finn into a different type of hero:
Apart from the kinetic chemistry between Pullman and Bullock, no one shoots like this anymore either (from blocking to composition). Pullman coming closer and the camera just holding, allowing the electricity of the scene to increase.
Another year: Halle Berry is still the only Black woman who’s won Best Actress. SELMA is still the only film directed by a Black woman to be nominated for Best Picture. A Black Director has never won Best Director; a and a Black woman has never been nominated.
#Oscars2023
Daniel Radcliffe said “transgender women are women” in a lengthy response to J.K. Rowling’s transphobic tweets: “Any statement to the contrary erases the identity and dignity of transgender people”
Considering how many Black films weren’t recognized this year, and a high probability that a Black person wont receive an award tonight… probably not the best idea to make the running bit of the show making fun of the Black person who did win last year.
#Oscars
A white director weaponizing his followers and knowingly falsely accusing two women of color of something they didn't do. This SHOULD be a bigger story.
A reminder: No Black woman has ever been nominated for Best Director by the Academy Awards. I’m just sayin, Gina Prince-Bythewood is sitting right there with THE WOMAN KING.
When Bruce Willis was on it, there were few who were better. An under appreciated dramatic force, an unlikely comedic presence, a sterling leading man. He could do anything and did everything in the movies. I’m going to miss seeing him on the silver screen.
FIELD OF DREAMS. GOODFELLAS. SOMETHING WILD. NARC. COPLAND. KILLING THEM SOFTLY. THE PLACE BEYOND THE PINES. MARRIAGE STORY. NO SUDDEN MOVE. That was Ray Liotta.
I do find it fascinating how much MAY DECEMBER has broken the brains of people who want movies to only be one thing, squeaky clean, without any introspection, difficulty, or interpretation.
Following yesterday’s Academy Award nominations, for
@latimes
, I wrote about how it’s not just the Academy failing Black women, it’s the entire awards ecosystem.
I don’t see MAY DECEMBER as any different from the myriad of films, books, and songs by writers who took inspiration from a newspaper article. There is a difference between modeling and straight up adaptation. The former happened. The latter did not.
Glad Peter Weir is gonna receive an Honorary Oscar. His four best director noms: WITNESS, DEAD POETS SOCIETY, THE TRUMAN SHOW, and MASTER AND COMMANDER are an embarrassment of riches. Extremely well deserving of an honor that shouldn’t have been elusive.
The dissonance is also interesting. Netflix has a reputation for not being a theatrically driven studio. But it’s two best chances at Best Picture — Roma and The Power of the Dog — are the pure definitions of movies imbued with a cinematic spirit. Movies clearly made for theaters
Ncuti Gatwa is so good on SEX EDUCATION, a lightning rod of charm and comedic timing. A star from the moment he popped on screen. He’s going to be phenomenal as the next Doctor.
#DoctorWho
“Well I’m simply saying, can’t you just wait a while and leave it alone?” Moreno responded.
That’s such a damming quote, and I’m totally disappointed with Rita Moreno.
If Marvel is handing over multi-billion franchises to talented diverse indie directors like Taika Waititi, Nia DaCosta, Chloé Zhao, Ryan Coogler, and Destin Daniel Cretton then no other studio has an excuse to not open up their purses.
With SXSW now cancelled, my heart goes out to every indie filmmaker and the publicity teams for them. Some of them REALLY needed the premiere and the press.
We're going to take this very slowly.
1. Please stop killing us
2. Stop removing episodes and pop culture relics as if it fixes
#1
3. Please stop killing us
4. Hire us. But also, please stop killing us
Glad she apologized but seeing people on here being dismissive of Black folks’ deserved anger over her remarks is another sign that the promises people made a couple summers ago to be better on race has still not come to fruition.
BOOKSMART only made $2.5 mill during its Friday opening. You vote with your pocketbook. Right now, there's a phenomenal generational film out there. People, friends, and some enemies, I'm begging you to go see it this weekend.
From GUNS AKIMBO to allyship, and our respective culpability—this past weekend still doesn't feel real. via
@ebertvoices
, I wrote about the way forward, and how I came to the decision to rescind my pull quote:
Nia DaCosta and Cathy Yan’s ascent into major studio projects like BIRDS OF PREY and CANDYMAN is only surprising bc white male directors have routinely had that career trajectory after a great indie. Women of color? Never. That's progress that needs supporting at the box office.
It’s real:
@Criterion
has asked me to write the liner notes essay for Cary Fukunaga’s BEASTS OF NO NATION. I’m so deeply honored to be granted this opportunity.
Maybe this says more about me than the film, but I thought BABYLON was utterly brilliant--extravagant, over the top, hilarious, thought-provoking. Might be one of those movies that reviews badly and is acclaimed as a classic in 20 years.
Keanu Reeves gives one of his best performances in THE MATRIX RESURRECTIONS. Him and Carrie-Anne Moss still have that magic chemistry, carrying a gorgeous, dynamic film that's rough in patches yet still discovers great additions in Yahya Abdul-Mateen II and Jessica Henwick.
Traumatic events happen in THE UNDERGROUND RAILROAD, but that doesn’t make it a traumatic series. That distinction is imperative when examining the show.
Really telling to see THE WOMAN KING missing from so many end of the year lists. In a year where everyone is intent on rewarding spectacle, that film has been “conveniently” forgotten about as though only one Black film offered show-stopping cinematic wonderment.
So much contemporary criticism is fangless. In fact, criticism has never been kinder to creatives than it is now. What’s happening to Angelica only reinforces the present-day impulse to either soften or obfuscate critical writing for fear of reprisal.
After watching
#TheColorPurple
a second time, I’ve come to the conclusion that we really need to talk more about how no matter the role, no matter the film, Corey Hawkins understands the assignment.
MA RAINEY’S BLACK BOTTOM features the best performance of Chadwick Boseman’s career. He’s vibrant. Energetic. Shattered. And holds this stagey production together. Viola Davis is great, as usual, but it’s Boseman’s showcase from beginning to end.
No one could have made THE UNDERGROUND RAILROAD, except Barry Jenkins. He makes Cora’s arduous story not one of dehumanization, but re-humanization. My review via
@polygon
If Aunjanue Ellis wins Best Supporting Actress tonight it’ll be considered an upset. But it shouldn’t be. She does so much with her screen time in KING RICHARD, adding greater texture than what was on paper. Next to the amazing Saniyya Sidney, she’s the heartbeat of the film.
I’m just going to leave my
@vulture
piece, here. It’s what I wrote the day the Emmy nominations were announced and SMALL AXE, THE UNDERGROUND RAILROAD, and THE GOOD LORD BIRD didn’t show up as much as they should have.
Harrison Ford in THE AGE OF ADALINE is so astounding. For an actor whose last twenty years has been filled with some low valleys with regards to his films, his work here stands out. It's a peak-level performance.
Soderbergh isnt a bad person (he gambled. He lost. Simple). I don’t think Hopkins and McDormand weren’t deserving (they gave incredible performances). And yet, last night’s production is deserved of some criticism and the Academy has a historic problem awarding Black leads.