(January 14, 2017) Original
April 20, 2018
From IMDb: “The film is about Marlo, a mother of three including a newborn, who is gifted a night nanny by her brother. Hesitant to the extravagance at first, Marlo comes to form a unique bond with the thoughtful, surprising and sometimes challenging young nanny named Tully.”
Poster Rating: –
Review: There was no poster immediately available for my review. Should one become available in the future, this section will be updated.
Trailer Rating: B-
SEE ALL TRAILERS BELOW
Review: The slowness of the trailer is one of its greatest problems, but as we get to the meat of the trailer mid-way through, it becomes a lot more interesting. The arrival of the Mary Poppins-like stranger adds something interesting, though perhaps too familiar, to the film’s premise that may not exactly drive engagement.
There aren’t a lot of options this weekend, but war films, especially ones that look as manipulative as this one, tend to do well when there are no other options. Den of Thieves is likely to be a flop and Forever My Girl just isn’t the kind of film that becomes a runaway success.
Our Highest Rated Films: This Giant Papier-Mâché Boulder Is Actually Really Heavy
Our Best Awards Ratings: None.
OTHER LIMITED RELEASES
Phantom Thread (Expanding)(Read our previous Looking at the Weekend commentary here.)
Mary and the Witch’s Flower
The Final Year
The Road Movie
Here’s what happened today in Oscar History.
The Academy has shared some details about next week’s nominations announcement. The non-press-release below specifies the details.
90th Oscars® Nominations Announcement Tuesday, January 23, 2018
5:22 a.m. PST/8:22 a.m. EST/1:22 p.m. GMT/9:22 p.m. CST
The 90th Academy Awards® nominations in all 24 Oscar® categories will be announced in a two-part, live presentation on Tuesday, January 23, via global live stream on Oscar.com, Oscars.org, the Academy’s digital platforms, a satellite feed and local broadcasters. The announcement will combine live presentations from the Academy’s Samuel Goldwyn Theater, with pre-taped category introductions, which will only be featured in the first half of the announcement.
At 5:22 a.m. PST, the nominees will be announced in the following categories (listed here in no particular order): Cinematography, Costume Design, Film Editing, Makeup and Hairstyling, Original Score, Production Design, Animated Short Film, Live Action Short Film, Sound Editing, Sound Mixing and Visual Effects.
At 5:38:30 a.m. PST, the nominees will be announced in the following categories (listed here in no particular order): Actor in a Leading Role, Actor in a Supporting Role, Actress in a Leading Role, Actress in a Supporting Role, Animated Feature Film, Directing, Documentary Feature, Documentary Short Subject, Foreign Language Film, Original Song, Best Picture, Adapted Screenplay and Original Screenplay.
Below is the embedded announcement video for you to watch when it goes live next week.
The Visual Effects Society has announced their nominees in numerous categories for the best visual effects of the year. While seeing what has the most nominations (War for the Planet of the Apes and Blade Runner 2049 tied with seven each) can be instructive, only two categories have any carry over to the Academy Awards, Best Visual Effects and Best Supporting Visual Effects. Looking over the ten films on the Academy’s shortlist for the Best Visual Effects of the year, we find a surprising four titles completely shut out here. Among them is The Shape of Water, which many think will be one of the final five. The others are Alien: Covenant, Okja, and Valerian and the City of a Thousand Planets, the other most surprising omission from this list. Meanwhile, the four films on the Oscar list that got the most nominations were Blade Runner, Planet of the Apes, Star Wars: The Last Jedi, and, surprisingly, Kong: Skull Island. Guardians of the Galaxy Vol. 2 and Dunkirk are the other two with Dunkirk picking up a single nomination for Best Supporting Visual Effects. As it’s the only film on that list that’s also on the Oscar shortlist, it’s probably guaranteed an Oscar nomination since at least one title from the Supporting Visual Effects list usually shows up at the Oscars.
(7) Blade Runner 2049, War for the Planet of the Apes
(5) Despicable Me 3
(4) Coco, Kong: Skull Island, Star Wars: The Last Jedi, The Lego Ninjago Movie
(3) Cars 3
In a three-way tie, the USC Scripter finalists have been announced. Recognizing the original author and the screenerwriter who adapted it, the USC Libraries annually honoring the Best Adapted Screenplay of the year. The Scripter award this year has cited two comic book adaptations as well as a handful of other Oscar contenders. Noteworthy exclusions here include Wonder, Blade Runner 2049, The Beguiled, Victoria & Abdul, and Wonderstruck. Blade Runner and Beguiled, being adaptations of previous screenplays were likely discounted because of that fact. Since this group prefers literary adaptations, it comes as no surprise. The others take serious hits in terms of Oscar competitiveness.
Best Adapted Screenplay
Call Me by Your Name
The Disaster Artist
The Lost City of Z
USC Scripter Data
Year Founded: 1988
First Awards: 1987 (31)
New Trailer (#2) / New Poster (#1)
Red Sparrow, updated
Preview Link: CLICK HERE for all of the new content as well as the original.
New This Week
It, Stephen King’s 1986 novel, was first filmed as an award-winning TV miniseries in 1990. The first part dealt with the disappearance of children in 1960 and the second part with new disappearances thirty years later. The 2017 theatrical version, deals with the first part with the time updated to 1989. With disappearances now occurring 27 years apart instead of 30, we can expect the planned 2019 sequel to deal with events in 2016.
Critics of the day were more impressed with the first part of the miniseries directed by Tommy Lee Wallace than they were with the second part despite the star cast of Richard Thomas, John Ritter, Tim Reid, and others as the grown-up versions of the then-unknown actors playing the kids in the first part. Only Tim Curry as the evil shape-shifting entity known as Pennywise the Clown acted in scenes with both sets of actors. That tells us that the 2017 smash hit, newly released on Blu-ray and standard DVD, may be the better of the two films in the reboot. Time will tell.
The new film was directed by Anthony Muschietti featuring a breakout star performance by Bill Skarsgard, son of Stellan and younger brother of Alexander Skarsgard. The seven kids comprising the Losers Club that bring the disappearances and subsequent killings to a halt are played by Jaeden Lieberher (The Book of Henry), Jeremy Ray Taylor (Ant-Man), Sophia Lillis (A Midsummer Night’s Dream), Finn Wolfhard (TV’s Stranger Things), Chosen Jacobs (Cops and Robbers, Jack Dylan Grazer (Tales of Halloween), and Wyatt Oleff (Guardians of the Galaxy). They’re all excellent in their roles.
Here’s what happened today in Oscar History.
Now That You’ve Seen Proud Mary…?
(January 14, 2017) Original
April 6, 2018
From IMDb: “Three fathers try to stop their daughters from having sex on Prom night.”
Poster Rating: C
SEE ALL POSTERS BELOW
Review: The title is “Blockers” and the rooster obviously has other linguistic terminology. That makes the title funnier when preceded by it, but this black-and-white design is ugly and needs to be replaced as soon as possible.
Trailer Rating: C+ / B-
SEE ALL TRAILERS BELOW
Review: (#1 & #2) In a rare case of a red band trailer being far better than its green band opposite, the red band trailer for this film is far funnier, reveals more complexities of the plot and makes this seem like a generally more interesting movie.
As the precursor awards continue unabated until Oscar night, I’m going to be providing a weekly update highlighting the films that have won and lost momentum through the precursor awards (and in some cases other outside influences).
There was a lot of activity this week, mostly from the guilds, which puts a lot into perspective. We have one more week of precursors before the Oscar nominations on the 23rd. The PGA and SAG awards will be given out in the next week, but the remaining guilds to announce nominations are for tech categories. They include the Visual Effects Society this week and the Motion Picture Sound Editors on Monday. Then that’s it. There’s also the USC Scripter nominations this week, which are a fairly strong predictor of Best Adapted Screenplay, but otherwise there aren’t a lot of things left.
But, before we get into this week’s winners and losers, let’s take a look at what’s coming up this week:
Mon. 15 – USC Scripter (Nominations) (Official)
Mon. 15 – Denver Critics (Awards) (Official)
Tue. 16 – Visual Effects Society (Nominations) (Official)
Sat. 20 – Producers Guild (Awards) (Official)
Sun. 21 – Online Film & TV Association (Nominations) (Official)
Sun. 21 – Screen Actors (Awards) (Official)
Welcome to The Morning After, where I share with you what movies I’ve seen over the past week. Below, you will find short reviews of those movies along with a star rating. Full length reviews may come at a later date.
So, here is what I watched this past week:
Somewhere within the shoddy framework that is Proud Mary, there’s an interesting concept trying to struggle out. As a member of the Boston Mafia, Mary (Taraji P. Henson) is becoming disillusioned and wants to get out. When she saves a young boy from the clutches of a rival mob family, instigating a war between her house and theirs, Mary finds the time to get free is imminent.
Proud Mary‘s first trailer made the film seem more like a type of espionage thriller than a mob film. While there are elements alike, I would have preferred seeing Henson as a secret agent. In this role, she’s good, as she always is, but the material is bargain-basement filmmaking. The first twenty minutes are incredibly choppy, cobbled together from too little collected footage. The scenes skip between themselves like poorly-edited form cuts, jarring the audience at regular intervals. While the clumsy filmmaking continues as the film does, the raw edges smooth out a bit and we’re left experiencing a plot that’s thin and frustratingly predictable.