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Number of articles: 13
First Article: May 1, 2020
Latest Article: May 14, 2021
It has been ten years since Lee Unkrich’s “Toy Story 3” was nominated for Best Picture at the Academy Awards. Since then, not a single animated film has received the same recognition. Over the past decade, there have been many terrific animated films that pushed the boundaries of storytelling.
A little over a year ago, Bong Joon-Ho’s “Parasite” won the Oscar for Best Picture. 2019 was undoubtedly a great year for films—from Taika Waititi’s “Jojo Rabbit” to Sam Mendes’s “1917”—and yet, “Parasite” was still the clear choice for recognition.
After watching six hours of footage expanded from what was previously one two-hour movie, I can say that “Zack Snyder’s Justice League” is vastly better than the original theatrical release of “Justice League.” A film that was meant to make millions was fumbled so badly by those involved that it took four years before the intended cut was seen by fans.
Come Oscar Sunday, it should not be a surprise if (and when) Chloé Zhao’s “Nomadland” wins the coveted Best Picture prize. It was clearly an early favorite, even in a year full of many impressive films.
The biographical film has been a staple of Hollywood since its creation. Look at Oscar winners in all four of the acting categories from the past 10 years, and you will see that 17 awards have been earned for portrayals of actual people—seven of those being in the Lead Actor category.
It’s safe to say that the majority of present-day moviegoers steer clear of stage-to-screen adaptations. There are films in this subgenre that would be considered classics, like Elia Kazan’s “A Streetcar Named Desire” and Milos Forman’s “Amadeus” and “One Flew Over the Cuckoo’s Nest,” but there is something about the intimacy of watching the film version of a work originally performed as a stage play that turns many audiences off.
In 2016, J.D. Vance released “Hillbilly Elegy: A Memoir of a Family and Culture in Crisis,” and it has been the topic of conversation for years since. Some say it points to why Trump won the 2016 presidential election, as it unveils a group of people living in Appalachia that have seemingly been forgotten.
For years, one of my holiday traditions has been watching movies all throughout Thanksgiving break with friends and family. As we approach the end of this unusual year, this tradition of seeing, at times, five movies in the theater is something that I am especially missing.
Jak sie masz! The days are now in the single digits as we wait for the election, and Sacha Baron Cohen decided it was a perfect time to release his new political comedy, “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan.” Although I was thoroughly excited to watch the film, I noticed that there were great differences between the two Borat films.
Over the past few weeks, I have constantly been thinking about the movies that studios are putting on the backburner to release when theaters are completely reopened. I am excited to see Cary Joji Fukunaga’s “No Time To Die,” Edgar Wright’s “Late Night in Soho,” Denis Villeneuve’s “Dune” and, honestly, I am curious about Malcolm D.
Not long ago, it was assumed that two types of film could make studios a significant profit: Disney remakes and Christopher Nolan films. Disney has been churning out remakes of animated classics yearly since Rober Stromberg’s “Maleficent” in 2014.
In July 2018, I prepared to go to the 75th Annual Florida Boys State Delegation, sponsored by the American Legion. This event is held all over the nation, with 1,000 rising high school senior boys in each state participating in mock state government.
Movie theaters are currently experiencing a grueling face-lift, and it seems the two reasons would be COVID-19 and “Trolls World Tour.” If a Justin Timberlake animated film musical is a catalyst for change within a multi-billion dollar industry, we are truly living in the end times.
