Ad Astra (2019): Cliff Booth Goes to Space

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“Ad Astra” is directed by James Gray (The Lost City of Z, The Immigrant) and stars Brad Pitt (Once Upon a Time in Hollywood, World War Z), Tommy Lee Jones (Men in Black, The Fugitive), Ruth Negga (Preacher, Agents of S.H.I.E.L.D.), Liv Tyler (Lord of the Rings: The Fellowship of the Ring, The Incredible Hulk), and Donald Sutherland (The Hunger Games, Ordinary People). This film is about an astronaut by the name of Roy McBride (Brad Pitt) and he is trying to fulfill a space mission with one person in mind. Specifically, his father. But it’s not easy, it is in fact, as this movie presents, dangerous to the tenth degree.

I. Love. Space movies. Period. Some of the best movies of the decade have primarily taken place in space. So naturally, I was curious about “Ad Astra.” I will say though, compared to other years, “Ad Astra” didn’t seem to have the same level of anticipation that I had for say “Interstellar” or “The Martian” as they were coming out. But, it doesn’t mean I didn’t take whatever anticipation I DID have into account. This is being released at the end of the summer into the beginning of the fall, which is around the kickoff of awards season. Plus, Brad Pitt is playing the starring role, which is something that is totally attention-grabbing for this year because Pitt just had the scene stealing role as Cliff Booth in Quentin Tarantino’s “Once Upon a Time in Hollywood.”

Before going into the auditorium to sit down and watch the movie, I have been exposed to tons of positive word of mouth regarding the film’s technical aspects. Let me just say off the bat, to every person who said this movie is cinematography gold, you are 100% correct. And I can totally see why, because this movie is shot by Hoyte Van Hoytema, who shot another wonderful space adventure during the decade, specifically “Interstellar.” And he also shot “Spectre,” which had one of the most incredibly well-done opening scenes in a recent action film. And at times, you can say this film has thrills and vibes that maybe a film like “Interstellar” also had. But you can also say that much like “Interstellar,” it’s slow at times. Now “slow burns” are not a bad thing. As long as the “slow burn” is used to execute the story well, then I’m all for it. But that is something to keep in mind, because “Interstellar” was still entertaining and somewhat compelling at its slow moments, this movie is just… f*cking dull.

I mean, it’s not bad! But it’s utterly forgettable! This movie sort of reminds me of the most recent movie I reviewed, “Brightburn.” If “Brightburn” were considered an organism and had a personality, I wouldn’t be surprised if I had to take it to a professional to see if it could diagnose it with a minor disability. This film is sort of on the same level. Would I immediately go back and watch the movie a second time? Probably not, but maybe I would, there’s always a chance. But if there were any reason to pay attention, I’d say it would be due to certain well thought out and executed concepts.

One sci-fi flick I often think about is “Star Wars,” and one reason is because of their “spaceports,” which to me, are futuristic versions of airports, even though that movie takes place “a long time ago in a galaxy far far away.” And guess what? One of the standout scenes in “Ad Astra” involves a literal space version of an airport! You’d look around and you have random shops, restaurants. If I were in this movie, I could literally go to the moon, get off the craft, be surrounded by walls, and go grab a muffin at Dunkin’. I guess this was in one way or another, just an excuse to shove product placement down our throats, but it doesn’t I’m denying that this was a good idea! I wouldn’t mind seeing a future where I could go to the moon and grab some chicken crispers or something at a Chili’s Too during a long layover to Mars.

The main message that I have honestly gotten out of this movie is to appreciate your parents and make them proud. This movie relies heavily on a plot involving the son of a famous astronaut, who also takes on the same lifestyle. In fact, one of the main reasons why our main character is doing what he is doing in the first place, is because of his father.

That being said, this does bring up one thing… I’m not going to give anything away, especially considering how “Ad Astra” was not the highest grossing film of the past weekend. I’m kind of shocked, but apparently I underestimated the level of anticipation there was behind “Downton Abbey.” Anyway, in “Ad Astra,” some things were established about the main character’s father. What things? I’m not going to go into any of them, but based on the information that was provided about him throughout the film, I questioned why we were getting the movie we happened to be getting in the first place. If you ask me, if you were pitching two movies, they took place in the same universe, and a movie about the main character’s father was one of them, I’d rather watch that. It would probably be way different from what we’re getting here, but from an entertainment factor, I think a movie like that would have a better shot at putting a smile on my face. But, keep in mind, this is just an idea. The execution of the final product is what matters. Things like proper direction, stellar acting, and excellent writing are all supposed to culminate to make something special. Based on what I’m about to tell you regarding the screenplay… They don’t.

The movie’s script, on the surface, is not bad. There are a fair share of attention-grabbing and thrilling scenes. But between the pacing issues and lack of knowledge I have about Brad Pitt’s character or some other characters during the movie when it starts, it doesn’t flow the way I would want it to. I imagine some people, specifically those in the general audience demographic would rather watch “Ad Astra” than “Interstellar” simply because of the two films, it’s shorter. To me, when it comes to characterization, “Interstellar” has a significant advantage because it takes its longer runtime to have us as an audience get to know our characters and eventually care about them. I like Brad Pitt, but the character he plays is almost not even worth giving a damn about. But let’s get into something that I did not expect to talk about. One of the last pieces of marketing I saw for “Ad Astra” before going into it was a trailer where Brad Pitt is just narrating from start to finish.

There is a lot of narration in this movie. And I can’t say I dig it.

Granted, you can also make the argument that since Brad Pitt’s character is a little reserved in this movie, almost similar at times to Ryan Gosling’s portrayal of Neil Armstrong in “First Man,” the narration works. It gives the audience some insight to what the character’s thinking given how little he tends to open his mouth. And if I had to judge Brad Pitt’s acting in this movie, it’s actually really good, but his character’s minor turnoff for me was the narration. There were a lot of times where it just felt tacked on. It makes “Ad Astra” feel more like a book than a movie. If this were originally a book, I’d understand everything that occurs in the film in terms of narration because narration in a book, specifically in the same case as the movie presents, which is “first person,” is a common happening. I’ve yet to watch the original cut of “Blade Runner,” although I’ve watched “The Final Cut” quite possibly ten times. But if you are familiar with “Blade Runner’s” different cuts, you’d notice that in the original, the main character of Rick Deckard, played by Harrison Ford, narrates. I’m not forcing for this to happen, but I wouldn’t mind if one day they came out with an alternate cut of “Ad Astra” and they called it the “Third Person Edition” because I want to see how a narration-less version of this movie will turn out. It could be better, it could be worse. Who knows? But part of me thinks that the movie will end up benefiting from something like this because I think it would allow an audience member to immerse themselves into the vibrant environment of the film. Again, the cinematography in this movie is some of best I’ve seen this year. It’s up there with films like “Us” as far as 2019 goes in that realm. But sticking with the topic of narration, I will say that it doesn’t make me feel stupid, so as much as I am not exactly satisfied with it, I can tolerate it.

This review is weird! I’m saying I like this movie, but at the same time, I want two different ones that I think could be better, based on its material! Pretty f*cking crazy if you ask me!

In the end, “Ad Astra” has the potential of being the worst good movie of the year, if that makes any sense. Brad Pitt is really good in this film, although he is better in “Once Upon a Time in Hollywood” if you ask me. I like some of the directions in terms of concepts and story elements this movie tends to lean towards. The cinematography, lighting, and sound are all superb and this movie would be excellent to show off as part of a tech demo. But if you are watching purely for the story, I’d seek out another space movie. Who knows? Maybe this is one of those movies that will be better on the second watch, but I cannot say for sure. I’m going to give “Ad Astra” a 6/10. I almost gave this a 7, but I had a few days to think about this because I’ve been busy with life and school. This is a good movie, but I wouldn’t rush out to see it, but if you want to watch Brad Pitt act well and see big pretty things for a few hours, no judgments here. Thanks for reading this review! I just want to remind everyone that tonight I will be going to see a movie that will not be out until the end of October, and that is “Black and Blue.” I honestly know little to nothing about this movie, but since I have an opportunity to attend a press screening for it, I thought why not take it? Be sure to follow Scene Before to check out that review when it is up, I’m not even sure when the embargo lifts so I might have to guesstimate as to when I can officially release ANY thoughts related to the movie. Also, like my Facebook page and tell your friends about the blog, it really helps me out! I want to know, did you see “Ad Astra?” What did you think about it? Or, what is a movie that you thought you would be at the top of the box office charts on its opening weekend but couldn’t make it? Let me know down below! Scene Before is your click to the flicks!

Christopher Nolan’s TENET (2020) Has A $225 Million Budget?! Should Warner Bros. Be Worried?

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Hey everyone, Jack Drees here! Over a month ago I discussed what has previously been established about Christopher Nolan’s upcoming flick, “Tenet.” And as of recently, something else has been brought up that needs to be talked about. Specifically, the budget. Why? Because it is one of the biggest in history, not to mention, Christopher Nolan’s second highest budget ever, regardless of whether or not you adjust the others for inflation. It has been announced by several sources that this film has a budget of $225 million. How big is that? Well, let’s just put it this way. Christopher Nolan also directed 2012’s “The Dark Knight Rises,” which had a budget of $230 million. According to Wikipedia, that film ties “Spectre,” “Captain America: Civil War,” “The Fate of the Furious,” and “Pirates of the Caribbean: Dead Men Tell No Tales” for the 18th highest budget for a movie. If what is being said about “Tenet” actually happens to be true, turns out it would tie the budgets of films like “Man of Steel,” “Pirates of the Caribbean: Dead Man’s Chest,” “The Chronicles of Narnia: Prince Caspian,” and “The Lone Ranger.” All of these budgets are in the top 30!

My question is this. Is it worth it? Because one simple fact about this movie and my relationship to it is that I am perhaps one of the most likely individuals to end up going to see it. I love Christopher Nolan, I am well aware of his track record, which is much more than solid, and he made some of my favorite films of all time. He is practically a movie god in my book. And if this movie were coming out some time after say “The Dark Knight” or the “The Dark Knight Rises” I think this would be a guaranteed success. However, it is coming out in 2020.

I want to bring up some numbers here regarding Christopher Nolan’s previous films, and I want to set a point straight. People love the man as a filmmaker, but I wonder if his name is going to be enough to carry this next film.

INCEPTION (2010) (released between TDK and TDKR)
Budget: $160 million
Box office: $828.3 million

INTERSTELLAR (2014) (released after TDKR)
Budget: $165 million
Box office: $677.5 million

DUNKIRK (2017)
Budget: $100-150 million
Box office: $526.9 million

By the way, for those who really want to know, the last two films in “The Dark Knight” grossed over $1 billion.

If you ask me, part of why films like “Inception” and “Interstellar” have been mega-successes is because they were released when Christopher Nolan and “The Dark Knight” were fresh in people’s minds. But I am wondering if Christopher Nolan’s clock is ticking. Because we live in a time where CGI superhero movies, Disney flicks, nostalgia bombs, and pretty much anything having to do with spectacle is what “the people” happen to be checking out.

Although at the same time, the description for “Tenet” makes it fall along the lines of a spectacle-type movie. Some have referred to “Tenet” as a “massive, innovative, action blockbuster” and “an action epic evolving from the world of international espionage.”

I will say, this film has a chance, but partially because it is not based on any preexisting material, it almost seems impossible for it to become a box office success. Besides, the summer it comes out, it will be competing against films like “Bob’s Burgers: The Movie,” “Ghostbusters 2020,” and because Disney is still running out of original ideas, “Jungle Cruise.” Granted, “Tenet” is probably not going after the family demographic, but let’s face it, it’s probably gonna lose those kinds of people to “Jungle Cruise.” If you ask me, I’d prefer seeing “Tenet” over all these movies, but I’m me, not everyone else. And basing purely on statistics and predictions, “Tenet” is probably going to have some trouble. Especially when you consider how “Tenet” is from Warner Bros., unlike these films. In fact, the only other July release announced for Warner Bros. is “Green Lantern Corps,” which I honestly wonder if it actually will happen to see the light of day. And if I must add something else to the table, one of Nolan’s recent films, “Interstellar,” didn’t win the box office on its opening weekend, instead that honor went to Disney’s “Big Hero 6,” an animated family film about the formation of a superhero team.

I have no idea what was going on when this movie was originally pitched. I would not be surprised, because I sometimes have this particular image in my head, if Christopher Nolan simply went to Warner Brothers, walked in the door, exchanged greetings with someone, said “I’d like to pitch a movie,” to which Warner Brothers responded, “We don’t care what it is, we want it!” Because Warner Brothers has helped distribute many of Nolan’s flicks, usually to be met with extremely positive feedback. Therefore, their bond is amazingly strong.

Christopher Nolan’s last few non-Batman films have been box office successes, making more than thrice their original budget. But I am wondering if based on their ultimate totals, it is perhaps a downward spiral. “Inception” came out after “The Dark Knight,” which is the #4 movie on IMDb right now. “The Dark Knight Rises” came out in 2012, which was positively received, but not to the same levels as “The Dark Knight,” which may have caused some audience members to lack the same level of faith in Nolan. Although based on the successes of “Interstellar” and “Dunkirk,” that did not seem to stop him. It’s still a question to keep in mind though because “Batman,” despite its nerdy association, is popular. Then again, a lot of nerdy things have officially become “cool” so what do I know? You’re not as likely to go to a bar and see everyone having a conversation about “Dunkirk.”

I do think “Tenet” has a chance at being a success, but it also has significant odds of failing as well. It’s an original film with an abnormally huge budget, and if the box office has taught us anything recently, most audiences are flocking to what they know. They know Christopher Nolan. But do they know him enough?

So if “Tenet” is to succeed, I do have some ideas as to how it could potentially win people over through its marketing campaign. It should insert the following:

“FROM THE DIRECTOR OF THE DARK KNIGHT TRILOGY”
The name “Christopher Nolan” in a significant manner
“GOLDEN GLOBE NOMINEE John David Washington”
Michael Caine (either the name, the actor in the film, or both)
Visually stunning moments
Enough to hide the movie’s overall structure
SHOT WITH IMAX CAMERAS

In fact on that last one, what I recommend is doing something that Nolan did for “Dunkirk.” When a big movie comes out this year or next year, perhaps maybe “Star Wars: The Rise of Skywalker,” “Black Widow,” “Birds of Prey,” “Godzilla vs. Kong,” or “Wonder Woman 1984,” perhaps attach a 5 minute preview of “Tenet” to one of these films to emphasize the scope of the film. In fact, “Wonder Woman 1984” is also being shot with IMAX cameras, this would be like an appetizer for that film.

Granted, there is a sign of hope when it comes to Nolan’s time of release, which is the fact that he is putting his film out during the third weekend of July. A lot of people have free time since it is summer, but most importantly, mainly for Nolan, is that said weekend is “a lucky date,” as once stated by Deadline Hollywood. He released four of his most recent projects at that time, to have them all be met with eventual success.

Although another thing that could help Nolan is that none of his competing films (as of now) are listed to be in IMAX. On Wikipedia’s List of films released in IMAX, “Tenet” is the only film confirmed to be released in that format during the month of July. I am willing to bet this list will change to include films like “Jungle Cruise,” but based on the specs of “Tenet,” I have a feeling that the IMAX brand is going to put more emphasis on that film during the summer more than any other. Kind of like how “Dunkirk” got an unusually long run in many of IMAX’s theaters.

At the very end though, “Tenet’s” success, at least from my point of view, is going to come down to a number of things. Positive reactions, originality, solid marketing, and giving audiences enough reasons to avoid checking out other similar films to be released in summer 2020. From what I have heard so far, the film has me onboard. I am looking for more original material to gloss over that will hopefully be remembered as time marches on. While I didn’t go see it in the theater, “Inception” won a number of people over for being innovative and something that some viewers have yet to see. I am willing to bet that “Tenet” is able to have the same effect that “Inception” did with its viewers. The film involves action and espionage, which makes the middle of summer a good time to release it. But the film should be thankful it is not going up against a “Mission: Impossible” movie.

I feel like this is a very neck and neck situation. On one hand you have a director with name power, a great track record, multiple successes. But not only is this a property nobody has ever witnessed, but the actors are not box office draws, there’s some competition for the time being, including some films that’ll probably be more likely to get kids in the theater. What’ll happen? I literally have no idea. After all, it’s more than a year until “Tenet” releases, so only time will tell.

I want to know, what are your thoughts on the budget for “Tenet?” Personally, it makes me excited for how the film will turn out, and I imagine some other people will feel the same way. Even without the budget, this is already my most anticipated film of 2020 based on everything I have heard so far. However, do you think this is financially responsible enough to allow a future box office success? If so, I’m curious, how much do you think “Tenet” will make? If you think it is going to fail, how much money do you think it’ll earn? Let me know down below! Thanks for reading this post! I just want to let everyone know that this week I am likely going to be seeing the movie “Yesterday,” directed by Danny Boyle. I’m not sure what day I am going yet, but that is on my radar at some point. Be sure to follow Scene Before either with an email or WordPress account so you can stay tuned for more great content! Scene Before is your click to the flicks!

90th Academy Awards Recap

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Hey everyone, Jack Drees here! Before we go any further, let me just say, I admittedly put this post out a little later than I once anticipated. I had my mind going around on three posts at once, part of me was begging to nap this week, some distractions have gotten in the way, and I also had this thing going on over on my Twitter where I’m giving shoutouts to women on International Women’s Day. With those things in mind, you might as well say that if this blog or my posts happened to be my kid(s), I might not be the best of fathers. I’ve been distracted, wanting to fall asleep, and just didn’t have enough of a focus on the things that matter. Speaking of parenting, let’s talk about Genevieve and Paul. Who are they? Well, they’re a couple who are currently expecting, but their journey to get there was like trying to find a way to defy gravity. Impossibly long and stressful. Ladies and gentlemen, this is all documented in “What The IVF?!”

“What the IVF?” focuses on the recently mentioned couple, Genevieve and Paul. The two are happy together and one day decide to have a baby. Turns out they realize, the process of having a baby isn’t all fun and games, and now they’ve got to deal with various problems. These problems range in areas including: Sex, math, exams, and those freakin’ needles!  The first episode of the series up right now, it’s actually the video listed above, it’s a few minutes long, so if you need to waste some time and you feel like you should watch something, this is a good deal for you. And I said to the couple that I’d promote the material, and I’m not just saying this to be nice or push their buttons or receive a fat paycheck in the mail, in fact at this point they’d probably need it for baby food or something, I actually watched the first episode, and I thought it was very well done. If you look at this video, you’re in for a well edited treat. Be sure to catch up on the latest regarding Genevieve and Paul and to help you do that, I’ll post links to various “WTIVF?” social media pages, and if you check this stuff out, be sure to tell them that Jack Drees sent you over!

WTIVF? WEBSITE: http://www.whattheivf.com/

WTIVF? YOUTUBE: https://www.youtube.com/channel/UCILXSidkzWgwrQ5Oa1py78w/featured?disable_polymer=1

WTIVF? TWITTER: https://twitter.com/WTivF

WTIVF? INSTAGRAM: https://www.instagram.com/wtivf/

WTIVF? FACEBOOK: https://www.facebook.com/What-The-IVF-288868031634125/

Getting back on track, it’s official that the Academy Awards are now over, so now I can look back and say to myself, “What happened to the politics?” If you think I’m asking that negatively, think again. Because I know one thing for sure, politics and the Academy Awards associate with each other quite well, and at times, it’s not exactly annoying, but they seemed to tone it down this year. When it comes to the politics, it was basically a sigh of relief. There were barely any comments regarding our current administration and when the comments were uttered, they were actually quite funny!

“That’s not the point. We don’t make films like ‘Call Me by Your Name’ for money. We make them to upset Mike Pence.” -Jimmy Kimmel

Then again, this isn’t the Golden Globes, where political and social issues, at least from my eyes and ears, seem to be more prominent and forced. At this Oscars, the insertion of all this commentary regarding politics and society didn’t feel that awkward because while they were there, there seemed to be more of a focus on awards and film.

Not every single person made it a big deal to wear black. People either did or they didn’t. The jokes weren’t as cringe-worthy. And let me just have you know, the stuff that’s being represented in terms of social issues happens to be stuff I personally support! Racial equality! Gender equality! I mean, Barbra Streisand and Natalie Portman didn’t get up on stage and come off as depression lords. Yes, time IS up, but there are more important issues than having male nominees and winners for Best Director. One of my favorite quotes regarding social issues comes from Kumail Nanjiani, who you may know as one of the writers and actors in last year’s “The Big Sick,” which is one of my favorite movies of 2017.

“Some of my favorite movies are movies by straight white dudes about straight white dudes. Now, straight white dudes can watch movies starring me, and you relate to that. It’s not that hard. I’ve done it my whole life.”

Well said, Kumail!

One of the other highlights of the night was something I didn’t actually expect. I came in for an award show, not a game show. Now when I say that, you may expect me to follow up with something negative, that is unless you realize my fanaticism for game shows. So as Jimmy Kimmel is finishing up his opening monologue, he reminds everyone that the Oscars is “a very long show.” Before those words are spoken, he states that the first Oscars show lasted for fifteen minutes from beginning to end, he adds in humor by saying “and people still complained.” So in order to spice things up, the show was going to give away a prize. So I start hearing “The Price is Right” music and suddenly, I see Helen Mirren standing right next to a new jet ski. The total value of the jet ski is $17,999, and whoever was to give the shortest speech, will go home with the prize. Kimmel adds, “Why waste precious time thanking your mother when you can give her the ride of her life on a new jet ski?” The man claimed that he was going to be timing everyone who wins an Academy Award with a stopwatch. Once they pick up their trophy, the clock begins ticking. Some of Kimmel’s conclusive words are “And in the unlikely event of a tie, I need to say the jet ski will be awarded to Christopher Plummer.”

By the way, Mark Bridges, the costume designer for “Phantom Thread,” was the winner of the jet ski. Also, for those of you who never heard of or seen “Phantom Thread,” the main character of Reynolds Woodcock, played by Daniel Day-Lewis, is a dressmaker. So of course, a movie about making clothes, won a category which involves making clothes.

Before I tuned into the Oscars, I made a hope/prediction post, which admittedly I rushed in some parts, but overall it was a somewhat effective list coming in over 4500 words. Although to be fair, it was crunch time, and I was just trying to get my major category predictions down. Much like in that post, I’m not gonna go through all the categories and stick to talking about anything from the categories that stand out to me. In my post I didn’t talk about anything such as Best Animated Short Film, Best Documentary, stuff like that. I’m just gonna talk about a category if I have some sort of interest related to them or if there’s something to me in it that stands out compared to other categories. To start this off, I’m going to dive into a category that I didn’t discuss on my prediction post. Specifically, Best Animated Short Film.

Here are the results for Best Animated Short Film!

  • Dear Basketball (WINNER!)
  • Garden Party
  • Lou
  • Negative Space
  • Revolting Rhymes

Regardless of familiarity, this category interested me because of its winner, “Dear Basketball.” For those of you who haven’t seen or heard of “Dear Basketball,” I don’t imagine many people will blame you, including Lakers fans. It has less than 2,000 ratings on IMDb, but it appears the Academy liked it. I have no problem with them liking it. I haven’t seen the short, so I can’t judge all that much. Although the real shocker for me here is who happens to be behind this “Academy Award winner.” OK, well, John Williams composed the music, which may have partially contributed to the overall verdict. The animation was a different style than what I usually see, and while I don’t think that in itself is award-worthy, maybe the idea of being different contributed to it. The creative developer, Brian Hunt made this his first project as a creative developer, but he also had experience in the industry prior to this. Although when it comes to the entire world of diverse, differently-minded, and film-focused people, the Academy decides to give an award to…

Kobe Bryant.

Yeah, Kobe Bryant. Kobe. Bryant. KOBE… BRRRRYANT. A former NBA Basketball player who has won the NBA Finals in the past, achieved an Oscar! I’m not saying that this is the end of the world, but seriously! If you told me a week ago, that Kobe Bryant, a guy who angrily swears at his own basketball team during practice, saying that his teammates are motherf*ckers who don’t do s*it for him, was going to win an Academy Award, I’d die laughing, get up, and tell you to get out of my sight because I’d think you’re incredibly dumb.

But he did.

Although one thing I really liked about this is how Mark Hamill was presenting the award. Because for one thing, he’s f*cking Mark Hamill. And another thing, the joke he made right before “Dear Basketball” was announced.

“Don’t say ‘La La Land.’ Don’t say La La Land.'”

Speaking of animations, let’s dive into Best Animated Feature Film.

  • Coco (WINNER!)
  • Ferdinand
  • The Boss Baby
  • The Breadwinner
  • Loving Vincent

“Coco” won. What a surprise.

“The Boss Baby” lost. Big fat shocker as well, not to mention a sign that Earth is still sane.

Enough said. Moving on.

Next up is Best Actor, and here are the results!

  • Gary Oldman (Darkest Hour) (WINNER!)
  • Daniel Day-Lewis (Phantom Thread)
  • Timothée Chalamet (Call Me by Your Name)
  • Denzel Washington (Roman J. Israel, Esq.)
  • Daniel Kaluuya (Get Out)

In total honesty, it would have been nice to see Daniel Day-Lewis win. Not just because he’s a terrific actor, but because this is his last performance. I have not seen “Phantom Thread,” much like how I haven’t seen any of the other films listed above, but seeing Day-Lewis winning would have been a treat. I have nothing against Gary Oldman. I don’t have anything against him winning, I think he’s a fine actor, and he definitely has potential to take on some more great roles in the future. I didn’t think about this while I was doing my hope and prediction post, but I did find this out going into the show. If Timothée Chalamet ended up winning Best Actor, he would have been the youngest person to win that award. For the record, Chalamet could have possibly been a 22 year-old Oscar winner, beating out then 29 year-old Adrien Brody (The Pianist) who won an Academy Award for this specific category for the 2002 movie season.

Speaking of acting, let’s move onto Best Actress!

  • Frances McDormand (Three Billboards Outside Ebbing, Missouri) (WINNER!)
  • Meryl Streep (The Post)
  • Sally Hawkins (The Shape of Water)
  • Saoirse Ronan (Lady Bird)
  • Margot Robbie (I, Tonya)

Once again, a category filled with movies that I just haven’t gotten around to watching! OK, well except one, which was “Three Billboards.” Having seen it, I approve of McDormand’s win. Very well deserved! Part of me thought at one point that Margot Robbie was gonna win for “I, Tonya” based on a clip I saw for it, but I guess not. Meryl Streep… I have nothing against her. I still have to see “The Post.” But I seriously wonder if this nomination happened just because she’s Meryl and the Academy has a fetish for nominating her. Part of me is also surprised the Academy didn’t go with Saoirse Ronan for “Lady Bird.” Although at the same time, it surprises me how many people saw the movie and didn’t like it. I didn’t see it, but I’m trying to.

One of the next categories we’re gonna get into is Best Adapted Screenplay.

  • Call Me by Your Name (WINNER!)
  • The Disaster Artist
  • Logan
  • Molly’s Game
  • Mudbound

I’ll state something similar to what I said in my prediction and hope post. “Mudbound,” to me, doesn’t qualify as a movie that associates with the Oscars. To me, the Oscars is about celebrating cinema. While there are a number of people who clearly worship this movie for various reasons, I refuse to call it a technical “Oscar film.” To my knowledge, this movie has released in a couple theaters if that. And while I do think a movie with even the smallest theatrical release can qualify to win an Oscar, it’s mainly known to me as a straight to streaming film. Now don’t get me wrong, if Amazon or someone like that distributed this film, I would have possibly supported “Mudbound” more. But instead, Netflix did. And since Netflix doesn’t give movie theaters a chance (do some research on “The Cloverfield Paradox”), I refuse to watch it, review it, and call it a movie that others seem to call it. So unless Netflix starts releasing films in theaters as a tradition and not a special occasion, I refuse to review any of their films or consider them for awards like Oscars, or if you want to be more accurate on my end, my top 10 BEST movies of the year lists. Now “Call Me by Your Name” won. I didn’t see it, therefore I was in a somewhat of a shock when its, well, name was called. I was glad it wasn’t “Mudbound,” but I didn’t really expect this film to win, and I was actually rooting for a couple of other films. One film I saw earlier this year because I couldn’t get to it last year was “Molly’s Game.” The film itself? Barely passable. The screenplay though? If this were a film class and I were teaching, I’d give it somewhere around the A range just for the diction choices and the snappy tone it provided at times. I was especially disappointed that they didn’t pick “The Disaster Artist” because humor-wise, it was the funniest movie of 2017, maybe aside from “The LEGO Batman Movie.” Not to mention the way it was written was partially realistic and another part felt like a homage. And while this is based on a true event, I totally appreciate the callbacks to some things that happened that can be associated with “The Room.” A lot of people are kind of disappointed that “Logan” didn’t win this award. I haven’t seen “Logan,” I’ve heard phenomenal things, but I haven’t seen it. Part of me wonders if this is just coming from people who either have a bias towards comic book movies or just go see comic book movies and ignores everything else, or if it’s a bunch of people who appreciate the screenplay for its differences compared to other comic book movies. It’s darker, grittier, contains more violence and foul language, and it just contains things that makes anyone who works at Disney hide in the corner. I’m not gonna focus on Best Original Screenplay, I don’t really have much to say about it. Like I mentioned earlier, I’m gonna just dive into categories which can feel more like an essay as opposed to a couple of forced complete sentences. Either that or if I feel if it has some sort of relevance to me, that will play into this sort of thing as well.

Next up is a category containing something I often think about, Best Original Score.

  • Alexandre Desplat (The Shape of Water) (WINNER!)
  • Hans Zimmer (Dunkirk)
  • John Williams (Star Wars: The Last Jedi)
  • Jonny Greenwood (Phantom Thread)
  • Carter Burwell (Three Billboards Outside Ebbing, Missouri)

Before we get into discussion concerning the winner, let’s talk about John Williams. John Williams, without a doubt, is a great composer, and there’s a reason why people love his work. Not only has he done some of the most iconic movie scores of all (Raiders of the Lost Ark, Harry Potter, Jurassic Park, Home Alone, Jaws), but he’s proven to be talented for many many years. Although him being nominated for his work on “The Last Jedi” is just… Bogus. I have seen every single “Star Wars” film scored by John Williams, including the latest one in the franchise, “The Last Jedi.” The movie’s mediocre overall, I admittedly overhyped it when I first saw it, it was a whole thing. When it comes to John Williams, I honestly don’t see how he could have been nominated for an Oscar other than the fact that he’s the one doing the score. You remember the score for “Rogue One?” That one was the only score for a theatrically released “Star Wars” film that isn’t from John Williams. That score, while not recognized all that much for awards, was not only a delight to hear, but a different take on what could qualify as “Star Wars” music. I’ve given some sort of praise to “The Last Jedi” for being different, but one aspect that didn’t feel different was the score. It felt like it just took themes from “The Force Awakens” and other “Star Wars” films and shoved them right into this one. I still remember the climactic scenes and I’m hearing the “March of the Resistance” song and it just felt underwhelming unlike the first couple of times. I like John Williams, I think he’s skilled, but what the hell? There are other scores that weren’t even nominated that could have qualified! “Blade Runner 2049!” “Wonder Woman!” And even though this film wasn’t really that good, I’d be fine with live-action “Ghost in the Shell” because at least various aspects of the movie, such as the music, made it sound like it was trying. “Revenge of the Sith’s” score was never nominated for any Oscars, but if you actually think “The Last Jedi” had a better score than “Revenge of the Sith,” I’m gonna force-choke you. Now onto something that matters.

I wanted “Dunkirk” to win Best Original Score. Although in the end, it turned out to be “The Shape of Water.” And funny enough, the composer for the score in “The Shape of Water,” Alexandre Desplat was originally going to compose the music for the recently mentioned “Rogue One” before that job ultimately went to Michael Giacchino! Desplat has also scored 2014’s “The Grand Budapest Hotel,” which I saw, enjoyed, but can’t say I liked as much other people. You know, kind of like its score. Seriously? It lost to “Interstellar?” You done goof, Academy. I’ll say this is one of those wins, much like a couple of others that really make me interested in checking out “The Shape of Water.” It would be interesting to hear what music related to a woman and fish who wanna f*ck sound like. I thought “Dunkirk” would win for its grand and fast-paced feel, but I guess not. But seriously though, no love for “Blade Runner 2049?”

Speaking of that, let’s talk about the nominees and winner for Best Visual Effects.

  • Blade Runner 2049 (WINNER!)
  • Star Wars: The Last Jedi
  • Kong: Skull Island
  • War for the Planet of the Apes
  • Guardians of the Galaxy Vol. 2

From what you can tell, I love “Blade Runner.” I love both the original film and its sequel. An enormous part of me is beyond glad that it won Best Visual Effects. I will say though, I imagine some people have these every once in awhile. They have certain categories in award shows where they don’t care who wins because they think all of them are deserving of the prize. This to me, was one of them. I will say, part of me is shocked that “War for the Planet of the Apes” didn’t win because a lot of people were impressed by that film visually. Interestingly, that was the only film of the five nominees I didn’t watch at the very least in portions. I’ve seen part of “Kong: Skull Island,” and every other film including “Guardians,” “Star Wars,” and “Blade Runner,” were ones I watched from beginning to end. Part of me even wonders how many people are thinking right now that “War for the Planet of the Apes” got snubbed. Nevertheless, I’m happy “Blade Runner 2049” won. If you have not seen “Blade Runner 2049,” you might occasionally drop your jaw at the city of Los Angeles, the fact that they did a clear recreation of Sean Young who played Rachael in the original film, and how much you’ll be immersed that a part of you might end up wanting to jump in this world. If “War for the Planet of the Apes” won, I think it would have been a very much deserved win, but I’m incredibly happy that “Blade Runner 2049” took the cake.

One category that got a number of people talking was Best Film Editing. This is partially because of not only who DID win. But also because of who DIDN’T win. Here are the five films to have been recognized for their achievement here.

  • Dunkirk (WINNER!)
  • The Shape of Water
  • I, Tonya
  • Baby Driver
  • Three Billboards Outside Ebbing, Missouri

So “Dunkirk” came out on top as you can clearly see, and as someone who has watched the movie, I can understand why it won. It was told in a non-linear fashion, which only made the film a tad more interesting than it already was. Although it’s a Christopher Nolan movie, so this puzzle-like editing isn’t exactly a shocker. One movie that people were surprised didn’t win however was “Baby Driver.” I feel like part of why this didn’t win is because the Academy usually goes after dramatic movies like “Dunkirk” instead of movies that some people would refer to as “less serious” and “fun” like “Baby Driver.” Not only that, but I’m willing to bet part of it has to do with the whole Kevin Spacey scandal that’s been brought to the world’s attention months ago. Granted, this isn’t Kevin Spacey’s nomination specifically, but still. Am I disappointed “Baby Driver” lost to “Dunkirk?” Not really, I think both films are well edited in their own little way. “Dunkirk’s” non-linear fashion makes the movie more of a challenge to watch and ultimately more fun. Although with “Baby Driver,” the editing in that movie has given us some of the best action sequences of the decade. In my review, I praised “Baby Driver” for its thrilling action sequences and how it made me want more of them once one ends. I can see why “Dunkirk” won, but some love for “Baby Driver” would have also been appreciated.

If you remember the nominees for Best Sound Editing and Best Sound Mixing, something in particular may have stood out to you.

They’re the same nominees.

Not only that…

THE SAME MOVIE TOOK BOTH AWARDS!

  • Dunkirk (WINNER!)
  • Blade Runner 2049
  • Baby Driver
  • The Shape of Water
  • Star Wars: The Last Jedi

One thing I’d like to say about “The Last Jedi.” I actually beg to differ because I think it had 2017’s best LACK OF sound editing or sound mixing. Remember that scene where one ship goes into hyperspace and crashes through another ship in the process? HOLY. F*CKING. S*IT. As much as that movie could have been better, THAT. WAS. AMAZING. While I do think the general editing for “Baby Driver” was praise-worthy to the point where I can’t contain myself, the sound work is basically not a competition anymore when “Dunkirk” steps in the ring. The sound choices were authentic! The audibility was extreme! The immersion provided from all the noise was 100% pure! How can you go wrong with “Dunkirk” in these categories?! “Dunkirk” put me in a war zone, and if you tell me you missed out on seeing this movie in a theater, shame on you.

When it comes to Best Director, this was yet another one of those categories where I was left feeling a lack of a surprise.

  • Guillermo del Toro (The Shape of Water) (WINNER!)
  • Greta Gerwig (Lady Bird)
  • Jordan Peele (Get Out)
  • Christopher Nolan (Dunkirk)
  • Paul Thomas Anderson (Phantom Thread)

So… Del Toro won. Doesn’t shock me whatsoever. I don’t know what you may have thought as the one to come out on top, but this was rather predictable to me. And I feel like a big part of it has to do with his presence at other awards shows, how much del Toro’s name has been spoken recently, and also how many Best Director awards I’ve been aware of this film getting thus far. One that really stuck out to me was the Golden Globes, mainly because of Natalie Portman’s “all male nominees” comment, which honestly would have been better left unspoken due to its awkwardness. I wanted Nolan to win, partially because he’s my favorite director, and also because of the excellent job he did on “Dunkirk.” But yeah, you can’t have everything. Although, I will say, something in the same realm as Portman’s Golden Globes utterance occurred. Last year’s winner for Best Actress, Emma Stone (La La Land, Birdman), said this:

“It is the director whose indelible touch is reflected on every frame. It is the director who, shot by shot, scene by scene, day by day, works with every member of the crew to further the story. And it is the vision of the director that takes an ordinary movie and turns it into a work of art. These four men and Greta Gerwig created their own masterpieces this year.”

This was so much better than seeing Natalie Portman onstage and having myself hear what she said. Don’t get me wrong, Portman’s a fine actress. Although let’s take a look at the situation at hand with her. She was standing next to RON HOWARD, someone who has directed a number of films. Films that by the way, are still remembered to this day! Howard even recently directed a film in the “Star Wars” franchise! A franchise which Portman was once a major part of as an actress! The two are talking, they’re about to present the award, and at one point, I hear Portman say…

“And here are the all male nominees.”

Yes, it is true that female directors aren’t usually getting as much attention as males. It is also true, that more males are directing movies as opposed to females. But to literally shame a director just because they have a penis, is just unbelievably ridiculous. How do you think del Toro felt taking that award home? I imagine he felt happy because he won, but seriously, he won after being accused of simply being a man. Emma Stone on the other hand, didn’t exactly make an awkward joke and instead quickly stated some words before moving on. It’s actually kinda funny. It was presented in a setting and manner that didn’t have a forced vibe, and I don’t have any feelings of cringe to describe to you. This comment, while it does point out the lack of women in the director’s chair when it comes to filmmaking, doesn’t feel like something that a man should be ashamed of hearing. Because for one thing, it mentions a woman got nominated. Also because it’s still technically a comment of praise. Literally pointing out that nominees are male the way Natalie Portman did almost feels like a comment meant to point out disdain towards the potential winners. Just look at the difference between the tone, delivery, and choice of words between the two people. Just look and see what I mean!

Speaking of women making achievements, one of them was involved in Best Cinematography… Although to me, that’s not even CLOSE to the best part of this category. The best part, is who finally f*cking won, after FOURTEEN nominations.

  • Roger Deakins (Blade Runner 2049) (WINNER!)
  • Hoyte Van Hoytema (Dunkirk)
  • Rachel Morrison (Mudbound)
  • Bruno Delbonnel (Darkest Hour)
  • Dan Laustsen (The Shape of Water)

Best Cinematography. Sounds like a category that some people don’t care about. In reality, when it comes to filmmaking, I’m a writer. If there’s one thing I’m not, it’s a cinematographer. Although more than one name for me stood out on this list. You’ve got Hoyte Van Hoytema, who has to proven to be a great cinematographer with not just “Dunkirk” as a notable achievement, but also “Interstellar” and “Spectre.” I really admired “Dunkirk” when I saw it partially because of how well done the camerawork itself was presented from an immersion perspective, but also the fact that it was shot on mostly IMAX footage. If you didn’t go see this film in an IMAX theater, especially one with laser projection or 15/70mm projection, you may have just missed out on a one of a kind experience.

Another standout to me was “Mudbound,” and part of me thought the Academy was going to pick the cinematographer for that movie, Rachel Morrison. For the record, she was the first woman ever nominated for the award in all ninety of the Academy Awards shows. I’ll mention once again, I refuse to call “Mudbound” a movie. I have nothing against Rachel Morrison, I just have a problem with Netflix. I’d be rooting for Morrison more if she was given a movie that doesn’t associate with a company which will make me always say, as pervy as it may sound, “I’ll just take chill,” when asked the common meme-worthy question “Netflix and chill?.”

Then we have “Blade Runner 2049.” My runner-up for my favorite movies of 2017 list for a gigantic number of reasons. And speaking of gigantic numbers, let’s talk about the number 14. OK, in some realms it’s not really that huge, but you’ll see my point. Roger Deakins was the director of photography for “Blade Runner 2049.” And I imagine when some people heard his name, they got excited. Chances are, if these people have followed Deakins’ work, it might not be the first time they got excited about something like this. I can’t exactly relate, but having seen Deakins’ work in movies like “Skyfall,” “The Shawshank Redemption,” “Hail, Caesar!,” and “No Country For Old Men,” I agree with others when they say he’s one of the greats when it comes to cinematographers. Once again, the guy has been nominated for Best Cinematography by the Academy, FOURTEEN TIMES. Here is a list of all the times other than the one of focus when he’s been nominated. Note that the year listed is the year the film he shot came out and not the year he was nominated.

  • The Shawshank Redemption (1994)
  • Fargo (1996)
  • Kundun (1997)
  • O Brother, Where Art Thou? (2000)
  • The Man Who Wasn’t There (2001)
  • No Country For Old Men (2007)
  • The Assassination of Jesse James by the Coward Robert Ford (2007)
  • The Reader (2008) (shared with Chris Menges)
  • True Grit (2010)
  • Skyfall (2012)
  • Prisoners (2013)
  • Unbroken (2014)
  • Sicario (2015)

What happened to Deakins when he was nominated those thirteen times? Well, that can be explained in a video by TIFF Originals that starts off with the statement: “Roger Deakins is a loser.” The video is called “Roger Deakins’ 13 Oscar Losses.”

After watching this video if you have done so, you probably got a thought on your mind, and it may have been “Roger Deakins is a f*cking loser.” I’ll be fair and say some of the competition he had were deserving of their awards, take “Gravity” for example. Although this year with “Blade Runner 2049,” I only thought Roger was deserving of HIS Oscar. We get to the big moment. I see Sandra Bullock holding an envelope with “CINEMATOGRAPHY” labeled on it. She says some words before introducing the nominees, and when they are introduced. I just thought this was gonna be a year where the Academy doesn’t give him the award and just gives an award to Rachel Morrison just because she has a vagina. Again, I have nothing against Rachel Morrison. She actually did the cinematography for “Black Panther” which was such a treat. It came out really well! I imagine she’s a very nice lady, but I was rooting for Roger. I’ll admit, I’m not that religious. My main philosophy is to be a nice person, I am however not that religious. But as the nominees were introduced, I had my hands, containing all sorts of cells, interlinked. I WAS PRAYING. People were cheering for Morrison, and the others seemed to get some applause, but I heard more for Morrison than anyone else. So they’re introduced, and it’s time. Sandra Bullock still has the envelope in her hand, and she says this as she quickly opens it for the result:

“And the Oscar goes to, Roger A. Deakins (crowd erupts in a roar), “Blade Runner 2049.”

My reaction to that can be described in many ways. Part of me wished I had fireworks to set off after that win! Part of me wanted to go around the house doing cartwheels after the win! Part of me wanted to find some confetti to throw around after that win! My reaction, quite possibly woke up my mother and sister. I might as well have been a young teenage girl at her favorite boy band’s concert! I might as well have been at an event where I find out my kid in school won student of the year! I might as well have been a Chicago Cubs fan at the end of the 2016 World Series, where they finally had a victory after years and years trying to get it. People may say that Leonardo DiCaprio waited a bit to get his Oscar, which I’ll say, when he won it, I kind of wanted Matt Damon to take it, but that’s just me. Although for Leo, he won it on his FIFTH nomination. When you’re nominated THIRTEEN times, it’s almost like you’ll be that one person who gets a nomination, but that’s all. What if Meryl Streep never won a single Oscar? All of her wins, “Kramer vs. Kramer,” “Sophie’s Choice,” “The Iron Lady,” they never happened. Streep received her TWENTY-FIRST nomination for a role she did just last year in “The Post.” I can imagine the crowd roaring like a bunch of T-Rexes in an argument if that turned out to be her first win. Let’s take another example, because why the hell not? Imagine the New York Yankees. Some people don’t like the New York Yankees because they always win. But they’ve been in 40 World Series Championships. Imagine all their titles where they were victorious, all gone. The 40th appearance is the charm. That’s how I feel about Deakins here, the fourteenth time’s the charm. I can wholeheartedly approve of Deakins winning not just because it took forever and a half to happen, but just look at these shots and tell me they actually look terrible. I dare y’all!

Nice shot now isn’t it?

Take a gander at this beauty.

Look at this bad boy and tell me it sucks. I’ll wait.

Is it just me or does this define the meaning of life?

This shot screams something that in some worlds, would qualify as one word. Fan-freakin’-tastic.

LOOK AT THIS SHOT!

LOOK AT THIS F*CKING SHOT!

LOOK AT THIS MOTHERF*CKING SHOT! NO! SERIOUSLY! THIS IS THE DEFINITION OF PERFECTION! THIS IS A F*CKING MASTERPIECE! I’M GOING F*CKING INSANE!

My point is made. Roger Deakins’ victory, to me, may be one of the most deserved Academy Award wins in history. THANK GOSH! So many people can sleep now and have less dreams and concerning nightmares!

And now, as mentioned, we won’t get through every single topic listed for the Academy Awards today, but here’s one that people look back on years and years from now, Best Picture. Before we get into that, you may remember the whole “La La Land” and “Moonlight” mishap from last year? Warren Beatty and Faye Dunaway come up onstage to present the award, they state the nominees, they’re looking at the card, and somehow awkwardness ensues. Suddenly, Dunaway announces “La La Land” won Best Picture, but the two had the wrong card. Celebration ignites! Cheering be heard all over the Dolby Theatre, and a moment later, Jordan Horowitz, a producer behind “La La Land” is onstage and he states “Moonlight” won Best Picture. He even showed the card! Turns out Beatty and Dunaway were handed the wrong envelope. So… What happens now? What idea could be better than bringing Beatty and Dunaway back? Jimmy Kimmel had some fun before diving into the nominees. “We’re in the home stretch. Nothing could possibly go wrong from here. Here, on the 51st anniversary of Bonnie and Clyde, are Warren Beatty and Faye Dunaway.” They come out, Beatty says, “We’re glad to see you all again.” Dunaway adds, “As they say, presenting is lovelier the second time around.” The two continue speaking, eventually arriving at the point where they announce the nominees and the winner. By the way, they had the correct envelope this time. Here are the movies that have been nominated for Best Picture!

  • The Shape of Water (WINNER!)
  • Dunkirk
  • Three Billboards Outside Ebbing, Missouri
  • The Post
  • Lady Bird
  • Get Out
  • Darkest Hour
  • Call Me by Your Name
  • Phantom Thread

In my prediction post leading up to the Oscars, I said this was gonna be a close race to the finish between “Lady Bird,” “Dunkirk,” “The Shape of Water,” and “Three Billboards Outside Ebbing, Missouri.” I will say however for “Lady Bird,” that kind of changed throughout the night because it was nominated for five awards during the show, but the four that were already presented were all losses on their end. For “Dunkirk,” I thought it had a solid chance. The Academy seemed to give a lot of praise towards this film and it already won a few Oscars throughout the night. For “Three Billboards,” I figured it could win solely because it won Best Motion Picture- Drama at the Golden Globes. It also made a sweep at the Screen Actors Guild Awards. And it was nominated for a ton of Oscars beforehand, and it ended up taking home two before getting as far as Best Picture. Although if there was one I “knew” was going to win, it was going to be a movie with thirteen nominations including Best Picture. It was going to be a movie that already took home a few awards. It was going to be a movie praised by many critics and average moviegoers alike. It was going to be… “The Shape of Water.”

…And it won.

I have nothing in particular against “The Shape of Water.” From what I’ve seen in promotional material, it’s very good from a visual perspective, but I haven’t watched the movie so I can’t really say much else. Funny enough, I take a film studies class in my school, and my teacher actually asked if anyone in our class has actually seen “The Shape of Water.” Once asked, the class pretty much unanimously declined to put our hands up. I wanted “Dunkirk” to win. But hey, it’s already got some well deserved awards, especially in the sound categories. Also, remember, Roger Deakins won. So I was beyond satisfied. Although if “Blade Runner 2049” were nominated for Best Picture, you’d know I’d choose it. Or “Colossal,” that was my #1 movie of last year. Although I can understand why it’s not exactly been nominated for anything. But seriously, check that movie out if you can! It’s on several streaming services as we speak! So congrats to “The Shape of Water” and its crew. That movie is actually going to be out on home video in a number of days, so maybe I’ll watch it very soon!

Guys, that’s all I have to say for the 90th Academy Awards! It was personally a great show on my end. All of the commentary for the most part, wasn’t all that awkward. I may be in the minority, but the monologue between Tiffany Haddish (Girls Trip, The Carmichael Show) and Maya Rudolph (Big Hero 6, Bridesmaids), despite how it’s on a topic regarding issues I can side with, just came off as something that would belong in a one of those “SNL” sketches that gets shoved in there when the writers have nothing else that they can come up with. It took a topic that I would, could, and should agree on, and it just sullies it. I imagine both Rudolph and Haddish are pleasant people, and I’M SORRY that Rudolph had to suffer through “The Emoji Movie,” but this just felt weird to watch. But other than that, it was one of the greatest nights ever. I’ve spent some time watching people react to their favorite team winning the Super Bowl on YouTube before, and when it comes to Best Cinematography, that’s legit how I felt. My team won the Oscars, which is MY Super Bowl. Congratulations to everyone who has been nominated and has won awards, I’m looking forward to seeing who will be in the 91st Academy Awards show, and finally. Finally. FINALLY! I can now call one of the world’s greatest cinematographers, Oscar-winning Roger Deakins. I’d like to thank the Academy for making that happen.

Thanks for reading this very long post! Pretty soon I’m gonna have my review for “Annihilation” up for you all to read, and if you are wondering, I don’t live in one of the countries where you have to use Netflix in order to watch it so if that were the case, I wouldn’t have seen the film. Also, stay tuned for my Tom Cruise “Mission: Impossible” review series which will have its first entry up this month. Stay tuned for more great content! I want to know, did you watch the Academy Awards? What are your thoughts? Did your picks win? Did they lose? Is there someone you really wanted to win or lose? Did you make any bets? Have you decided to check out any movies after watching the show? Let me know all of that info for an unofficial possible nomination for Best Comment. Scene Before is your click to the flicks!

“Hey thank you, thank you. I better say something or else they’ll give me a jet ski and I don’t see myself on a jet ski somehow. I want to share this with my wife of 27 years, James, whatever. I want to share it with Andrew, Broderick, and Denis Villeneuve. Y’know I really love my job, I’ve been doing it for a long time as you can see. But y’know one of the reasons I really love it is the people I work with. Both in front of the camera and behind the camera. Some of my crew on “Blade Runner,” I’ve been working with for over thirty years. And others-others I met for the first time in Budapest. And this is for every one of them. Every one of them. In fact, I gotta say, it’s for us, because it was a team. It was really team- a team effort. Thank you. Thank you very much.” –Roger A. Deakins