Monday, 19 August 2019

Ciné Rambles 5th Anniversary Special - The Lost Aliens Review

Five years ago, I watched Fritz Lang's German classic, M, and was left with a desire to yell my thoughts about the ending at someone or something. After getting it all off of my chest and onto a Word document, rather than, say, write an IMDb review like a normal person, it occurred to me there were actually quite a few films that I could potentially scream my opinion on into the void. So I threw together a Blogger page and decided I was going to start writing on the Internet, as an infant would scrawl their own shit on the wall, maybe under the pretence that this would improve my writing ability.

Well, here we are. Five years later, and I'm still scrawling, and yet have still never covered half the films I originally intended to. And I still haven't rewatched M either, which has been on the frankly daunting list for, well, five years now. I would say my writing ability has improved though, so at least that's a tick.

So how does one commemorate the five year anniversary of a blog? The obvious answer is review my favourite films of all time. But that seems almost too easy an answer, plus I'm honestly not sure what to write about half of them. There are only so many ways you can write "it's good", ya know. Not to mention I'm not even sure where I'd draw the line on favourite films. I certainly couldn't pick one. Would I pick five? Ten? That's the tradition. There's about seventy-odd films I would consider favourites in some capacity, am I going to talk about all of them?

No, I thought. Let's save that for the tenth anniversary (that way I might not even have to do it!)

Instead, let's go back to that whole 'writing' thing. If my writing has improved in the space of five years, let's see what it's done in seven.

A long time ago, I had the idea to start doing movie reviews on my now-dead YouTube channel, starting with one of my favourite films of the time, Alien. You can still watch it to this day. It's utter shit but it's a humble beginning. And while I started work on a review for Aliens, I kinda got bored and figured that me just talking at the viewer all clinically while putting on a slideshow of screencaps from the film wasn't setting the world on fire. And so I canned the project, despite having promised to have it out within the month. But I did at least finish the script.

Digging through some old hard drives recently, I found the original script for the review, last edited 28th April 2012. Yikes. And even then, my reviews were still over the 1000 word mark. Some things never change. So I thought, what better way to commemorate the fifth year of the blog than with a shitty seven-year-old review?

So, I guess I am going to be talking about a favourite film of mine after all. Ladies and gents, please enjoy in all its unedited splendour, my long-awaited review of Aliens! God help you all...

"The original Alien was a great success when it first came out, grossing around $3,527, 88 in the US (for all you Americans out there) and won an Oscar and many other awards. It is still to this day one of the most famous and successful Sci-Fi Horror films of all time. So a sequel was almost inevitable. And sure enough, seven years later, director James Cameron made Aliens in 1986. Originally, Sigourney Weaver was reluctant to star in any sequels, but when she read James Cameron’s script, she agreed to do it. And so, Sigourney Weaver returned to her trademark role of Ellen Ripley. So, on to the plot. But first, spoiler warning. In order for me to explain the plot, I’m going to have to spoil the end of the first movie, Alien. So if you still haven’t seen that yet, click the annotation somewhere on the screen to skip ahead.

At the end of the first movie, Ripley, having successfully flushed the alien into outer space, sets up for hyper sleep and goes into suspended animation. 57 years later, she is picked up by a salvage team who bring her back to ‘the company’ aka Weyland Utani. She is then held responsible for the destruction of the Nostromo. Although she did blow it up, obviously, she explains about the alien and how she had to do it. The company don’t believe her, saying that her description of the alien doesn’t match any life forms they’ve ever encountered and that if there was a crashed ship on LV-426, it would have been discovered by the colony who has settled there. Therefore, Ripley’s pilot license is revoked, making her unable to fly anywhere. The company then lose contact with the colony on LV-426. Suspecting Ripley might be telling the truth, they try to persuade her to go with a bunch of colonial marines as an advisor, even offering her pilot license back. Ripley eventually agrees, wanting to face her fear of the aliens and knowing that the company want to destroy the aliens, not take them back and study them. When the marines and Ripley get to LV-426, they discover the whole complex is over-run with aliens, now known as ‘xenomorphs’. The only human left besides some impregnated people who are stuck to the wall and die very quickly anyway, is a 10 year old girl called Rebecca, or ‘Newt’ as she prefers to be called. Ripley takes her under her care and the rest of the film consists of the marines, Ripley and Newt trying to work out how to kill the xenomorphs, and escape with their lives intact.

Out of all the sequels in the world, Aliens is in that small handful that are actually better than their predecessor, in my opinion at least. There does seem to be a bit of a war over which is better, Alien or Aliens. Personally, I think Aliens is better for its action and fast-pace, but there isn’t a whole lot in it. Either way, both films work perfectly together and complement each other well. The first one is a perfect horror film and the second is a perfect blend of horror and action. It just proves that a sequel that has an almost completely different style to the first one can still be a masterpiece. And that’s the best word to describe Aliens, a masterpiece. There was never a dull moment, not even in the special edition that’s 2 and a half hours long, there’s always something going on to keep you entertained. Even at the start, there’s action as Ripley hallucinates having an alien burst out of her stomach and the film never lets up to take a break for a single moment. And then, by the end, the peaceful music starts playing, you sit back off of the edge of your seat and relax content with what you have just seen. In terms of horror, this film does an equally good job as the first one. There are a couple of jump moments, but otherwise, Aliens goes for something completely different. One of the big contributors are the motion detectors on the side of the guns. Similar to the ones used in the first movie, they track anything that moves, and their rapid beeping, slowly increasing in speed is probably the scariest part of the movie, in one scene near the end, the marines detect a huge amount of aliens moving towards them, they seal themselves in the room and stand back from the door, the motion detector still beeping they then look slowly up at the ceiling and Hicks decides to go check above the ceiling. The pace slows right down to a halt and the tension builds as he slowly pushes up the panel and takes a look. Also, closer to the beginning, the marines have a head mounted camera that links back to the control room thing in the APC. And here, Ripley and Lieutenant Gorman watch what they’re doing through these cameras. These also provide a lot of tension, as you see them being attacked from their perspective and gives a real sense of danger as you just see the bank of TV’s slowly black out. The fore-mentioned action scenes are also incredible. The initial raid on the alien’s den where the aliens first attacked is incredible because it leaves a strong impact on the viewer, to see all these tough soldiers who are the best of the best slowly picked off by the aliens is really quite intriguing to watch. And the previously mentioned scene where they are locked in the room with the aliens coming through the ceiling is brilliant as well. The aliens had cut the power, meaning that the whole room is illuminated by a red backup light and just seeing all the guns blazing and the screeching of aliens and the constant shouts of the marines is so exhilarating to watch.

In short, Aliens is an excellent film and if you love films like The Terminator or Avatar, also by James Cameron, or 80’s action, sci-fi, horror or just good films in general, this is the film for you. It is an incredible film and would go really well with a back-to-back viewing with Alien. The horror and action elements blend perfectly and the fast pace promises not to let up for a second. I know I say this a lot, but you owe it to yourself to see this film. So get some mates round on a Saturday night, really late, turn on the surround sound and prepare to be entertained. I give it a 9.5/10 and a high recommendation. See it now."

Hope you're happy, Andrew.

Sunday, 7 July 2019

Hereditary (2018) - The Real vs the Supernatural

Some of you may remember back in December I listed Hereditary in my top 5 films of 2018 but was reluctant to go into any significant detail, as I wanted to save it up for its own post. Some of you may also remember in the second half of my Oscars double bill that I said I would have such a post ready in March or April. If I should be so lucky.

Who'd have thought things would actually get quite busy for me during the final months of my university degree, and while I would have loved to work on my blog, my final assessments had to take precedent, as per. On the bright side, this is officially the last time I can ever use this excuse because, as of May, I have officially finished my degree in Film and Television Production! Hurrah! While I've been studying for the past three years, the blog has been lying nearly dormant so now I've got a bit more free time on my hands, I'm hoping to give it a bit of a revival. I can't promise regular posts, but certainly more frequent than they have been.

So, with Ari Aster's new horror film Midsommar releasing this week, now seems like a very appropriate time to look back on his debut from last year. Maybe, one could argue,  more appropriate than if I were to have just randomly reviewed it out of the blue in the middle of spring. So, ultimately, I see this three-month delay as a deliberate rescheduling in the name of theming that I totally had planned from the get-go. Yes, that's the official story and I'll hear no more questions on the matter.

Now, before we get stuck in (but, you know, after my signature long waffly intro), I need to make a quick PSA. Normally, I try to keep spoilers in my posts to an absolute minimum, but for me to even begin to discuss this film to any major degree, I'm basically going to have to spoil everything. So, this entire post is basically going to be non-stop spoilers. For all of its flaws, Hereditary is still very much worth a watch and I highly recommend it, but to experience its full impact you need to know as little about the film as possible going in. Therefore, if you have not seen this film yet, PLEASE stop reading, go give it a watch (it's on Amazon Prime at the moment) and then return here. This is your point of no return.

SPOILERS AHEAD

We all good? Everyone seen it? Ok, let's get to work.

Hereditary could have been, and for the most part was shaping up to be, one of the greatest, most powerful and even dare-I-say revolutionary horror films of the decade, and even a new personal favourite of mine. The film falls down however upon reaching its ending. And by fall down, I mean it trips over the last hurdle so hard that it smashes its face on the ground and shatters its teeth beyond the recovery of even the most skilled of dentists. What I'm trying to say is, it sucks.

It's not impossible for a film to recover from a bad ending, though. Some films like 10 Cloverfield Lane and Eternal Sunshine of the Spotless Mind are fantastic throughout and then soil themselves in their final ten minutes. However, both of these films still work because there's enough closure before the fuck-up that you could theoretically just switch the film off at the right moment and be satisfied, and merely omit the real ending. The problem with Hereditary and the reason it frustrates me so much is that it does not have such closure.

The best way to really explain what's wrong with it is to pretty much start at the beginning and just explain my way through the film and my reaction to it. Hence the spoilers. So, with that in mind...

The film starts off with some familiar generic horror tropes: we've got a recently deceased grandma who liked to have control over the family, there's a creepy little outcast daughter who's obsessed with the macabre, there's a stressed mother who's hobby is crafting dioramas, including of her own house and family, and just overall there's a vague foreboding sense that some supernatural shit will eventually go down, presumably in an Exorcist kinda direction. So far, so standard. Until...

About thirty minutes into the film, out of absolutely nowhere, the girl gets brutally decapitated in a car crash. And, I have to say, the presentation of this moment was masterfully horrifying. The impact is barely on screen: just flash cuts, a sickening crunch and then quiet. The camera lingers on the driver for what feels like an eternity, the back seat of the car cropped from view as he stares in empty horror. He comes home, he lies on his bed, the same expression on his face, still we are denied the information. Deep down, we know what's happened, but waiting for the confirmation is torture. Then, from out of shot, the mother screams, discovering the girl. We still don't get to see. The shot lingers on the boy just long enough before, finally, we see the head.

It's shocking, it's unexpected, and the build-up to the reveal is deliciously uncomfortable. The generic, supernatural horror plot crashes to a screeching halt and is replaced by genuine, real-world human horror. It's nothing less than an emotional sucker punch that left me feeling completely drained, with a dark pit in my stomach, like no other horror film had ever made me feel before. Hereditary took all the overdone, supernatural jump-scare-ridden bollocks that is currently choking the genre in titles like The Nun and Annabelle and threw it back in our faces, instead turning its dark mirror towards the cruel and unforgiving nature of reality and the seemingly insignificant choices we make and the unpredictable accidents that spiral out from them through the relentless Rube-Goldberg machine of life.

The fears of boogeymen, ghostly occurrences and bumps in the night are all very well, but there's still a certain distance with which we regard them, as however frightened we might get we know it can never really happen to us in real life. The beauty of Hereditary comes from its ability to craft just as scary and unpleasant a horror out of tangible, real-life tragedy that any one of us can and probably even will experience at some point in our lives, confronting us with the idea that we or our loved ones can be taken in an instant, without reason and without mercy, and what's even worse is we can be unknowingly responsible for it.

And so the film continues, now focusing on the grieving family as they try to cope with the aftermath of their actions. The mother and brother suffer from their intolerable guilt as they try to pass the blame between them, while the father does his best to hold the family together. This culminates in a dinner scene that may be one of the most uncomfortable scenes in all of cinema as the mother and brother viciously argue, topped with a truly gut-wrenching monologue from the mother. Did I mention, the mother is played by Toni Collette? Did I also mention that she deserves a fucking Oscar, for this scene alone, let alone the entire movie?

It was at about this point that I was ready to crown this as my film of the year. One of the most harrowing cinema experiences I'd ever had, not only was the apparent concept of this film so strong and so unlike anything I'd really seen in the horror genre up until that point, but its execution was mesmerising, emanating an oppressive atmosphere of dread that seemed to completely smother me on an emotional level.

I remember the excitement I felt in the cinema as I considered all of this, that thrill you feel when you know you've found something really special. I remember thinking about composing this very review, what I would say, how I would say it, and genuinely got excited by the prospect of telling the world how great this film was. I repeatedly thought to myself  'they just have to get the ending right'...

The warning signs started to appear when the supernatural shit started to creep back into the picture. The mother starts looking into séance and has a couple of mild supernatural experiences, nothing above magic-show level. She even tries to get her family involved, but the father and brother try to convince her that it's all in her head.

I actually don't mind this section at all, as it still nicely fits the theme of grief and refusing to move past death, and especially with the denying of the other family members, the supernatural results can be chalked up to the mother's deteriorating mental state. 'Great,' I thought, 'another point in the film's favour. I wonder how they're going to end it.'

'I really had you for a minute there,' the film seems to crow. 'You thought I'd ceremoniously chucked out all the overused generic horror bullshit in exchange for a more unique and powerful story, didn't you? Let's see what I've got here....oh look! It's overused generic horror bullshit!'

The dead grandma, after basically not being mentioned for about ninety minutes, is back all of a sudden with powers from beyond the grave. Out of the blue, corpses float and possessed family members crawl up the walls like spiders, chasing after the brother.
A cult of headless corpses show up, apparently worshipping the girl's severed head as some kind of new queen of the underworld. And then the film just kinda ends, in a sticky clusterfuck of seen-before horror imagery.

I was in shock. I don't think I've ever seen a film subvert it's genre expectations only to unironically revert them at the end, certainly not to this extent. The chilling, genuine horror of loss had been undermined by spoopy ghosts and some ancient mystical evil, so utterly divorced from the reality that the rest of the film's horror seemed to be placed in.

Now, before I get any angry backlash about how I missed something and have completely misinterpreted the film, I am already pretty certain that I have. I'm sure this film is too good and too smart to misjudge an ending that badly. I'm sure when I give this film a rewatch I'll notice things I didn't before and more of it will fall into place and maybe the ending might make more sense.

In the meantime, this post exists as my initial reaction, how I saw things on the first viewing and from that stance, I was disappointed. What worries me most is if this film really is supposed to be about possession and supernatural meddling all the way through, then that leaves us with an accidentally fantastic horror film stuck within a much less interesting one, and frankly, I don't really know what to make of that.

If that is the case, that does at least leave the criticism that the supernatural element takes way too much of a backseat during the second act. Maybe the horror film I thought I saw and loved never really existed there in the first place: a subjective analysis that picked up on and ignored elements I wasn't supposed to.

Ultimately, I guess that's kinda the beauty of cinema, that different audiences can have such wildly different experiences with a film and find their own meanings within the work, even if they weren't necessarily supposed to be there. Intentional or not, this film certainly had some effect on me, and quite a strong one at that, so does that really make this interpretation any less valid?

END SPOILERS

At the end of the day, Hereditary has some truly outstanding sequences of horror, however intentional they may have been, and Aster and his crew demonstrate a wealth of talent and potential. Even if this didn't entirely come together, it's still one hell of a debut and blows most other horror films out of the water.

Midsommar already seems to be receiving a lot of praise, even so early into its cinema run, so I'm very much looking forward to seeing it this weekend. While I try my best not to get too hyped before going to see any film, I'd be lying if I said I don't expect Midsommar to be one of the standout films of the year. We just have to hope that Aster can stick the landing.

Hereditary - 2018 - Ari Aster - USA
Score: 8
Recommendation: High

Monday, 25 February 2019

The Fifth Annual Double Oscar Spectacular: Part Two (Electric Boogaloo)

We're doing things a little different this year. For once, thanks to a very helpful friend with access to Sky, I'm going to be watching the ceremony this year, rather than refreshing IMDb's homepage every few minutes for the entire night.

Not only that, but I've also assembled a couple of fellow film students to watch it with, and I'm going to be live blogging our reactions throughout the evening. So if you're pulling an all-nighter to follow the ceremony, stay tuned to this page for the latest awards and our reactions. It's gonna be a long 'un this year, but it's going to be a wild ride.


Pre Ceremony

It's currently quarter past twelve. Our leftover cheesy garlic bread has just come out the oven, the Haribos and flapjacks are plentiful, and the red carpet is in full swing.

I'm joined by my friends Cameron and Liam, both studying film up at York. "I don't care for the fashion," says Cameron, "but the presenter is very nice." That's Ryan Seacrest presenting, and at last the BoJack Horseman jokes are starting to make sense. And yeah, he's doing a pretty decent job, although a lot of these interviews and constant advert breaks do feel like we're really just killing time until the ceremony begins proper.


Upon asking Liam for his thoughts, he sat in silence for close to ten seconds, grasping at his face, as if considering the atrocities of war. At last, he answers "I think Willem Dafoe looks scary." That's the kinda guy Liam is.


Nothing to report yet, but we have gone through the nominations again and placed our predictions. Some we all agree on, some we're split on, including most notably Best Picture. More about our predictions later into the ceremony.


I haven't watched any more of the contenders since my last post: I was pretty proud that I'd seen six out of eight, which by proportion at least was a new record for me for pre-nomination viewing, I'm pretty sure. I decided against seeing Green Book in the end: I found that I couldn't really be arsed right now, but maybe I'll get to it another time. Cameron, my flatmate, has seen it and loved it, and it's even his pick for Best Picture, so I'm sure it can't be too bad.


Best Supporting Actress

Cameron: Regina King (If Beale Street Could Talk)
Liam: Rachel Weisz (The Favourite)
Nick: Rachel Weisz (The Favourite)

Well, the show has started, as promised, with a performance by Queen, featuring Adam Lambert. And already we're laughing.


"How do we keep the Oscars relevant? Let's get an 80's band in!"
"If another Queen member dies, do they replace them too? At what point do they stop being Queen?"


Well, it's coming up to the first award, our predictions are above. I'm still stuck between Emma Stone and Rachel Weisz for the winner, but I've sided instead for Rachel in the end. We'll see how it turns out.


And wow, we're only a few minutes into the presenting, and it's already as unfunny as the legends foretold. I mean, by Christ, there was a joke about Mexico paying for the wall. That joke's two years old! It feels so painfully forced.


"The Oscars feel rushed this year without the host. It's like sex without the foreplay!" cries Cameron. At any rate, at least we're getting straight into the awards more or less. Maybe the ceremony will finish on time this year, to keep the metaphor going...


Winner: Regina King (If Beale Street Could Talk)


Already, Cameron's acting smug: it's 1-0-0 to him. It's hard for me to comment since I haven't seen Beale Street yet, but from what I've heard about it, this doesn't seem like a controversial choice. While I love Emma Stone and Rachel Weisz's performances, I'm not too torn up about their loss, especially as they already have an Oscar each. A shame that Amy Adams still hasn't received any recognition for her amazing work yet though. Oh well. At least there's been no Meryl Streep this year.


"Aww, they're all crying." woos Liam, as the camera cuts to all the other nominees, tearing up at King's moving acceptance speech. "Only because they lost!" quips Cameron.


Best Makeup and Hairstyling

Cameron: Vice
Liam: Mary Queen of Scots
Nick: Vice

Winner: Vice

Not a surprise, although Liam and Cameron were umming and erring back and forth between Vice and Mary Queen of Scots, but in the end, it's now 2-0-1. The acceptance speech was an absolute clusterfuck, though. It's like they had no idea what they were doing, and was painfully awkward to watch. It was only made funnier when they started to play music over them to hurry them off stage, and then cut them off entirely. "They shouldn't have cut the awards, just the speeches" sighs Cameron, as the winners keep passing their notes back and forth like a couple of Year 7s doing a group presentation.


Best Costume Design

Cameron: Black Panther
Liam: The Favourite
Nick: The Favourite

Winner: Black Panther


An interesting choice, but one that I can sort of see the logic behind: the design was one of Black Panther's few strengths. Cameron's getting mad with power now, 3-0-1 to him. The warm response to the award, as well as the noticeably diverse audience, is making Cameron start to believe that Black Panther might win the big one. I remain sceptical.


Best Production Design

Cameron: Black Panther
Liam: The Favourite
Nick: The Favourite

"Sky just knows how to make everything look tacky, don't they?" says Liam, as the cheap-looking animated VT brings us back from the advert break.


Winner: Black Panther


4-0-1. Cameron would also like to point out he correctly predicted Best Documentary Feature, even though we didn't officially vote on it, so 5-0-1. Cameron's getting surer in his new prediction, but I'm resolute. Panther might sweep some of the technical and design awards, but it cannot win Best Picture.


Best Cinematography

Cameron: Roma
Liam: The Favourite
Nick: Roma

It's a done deal. For sure.


Winner: Roma


I'm sorry, but, no contest. 6-0-2.


L: "I'm not going with the ones I think will win, but the ones I want to win."
N: "How's that working out for you?"
C: "It's not the Oscars, it's the Liams."


And apparently, Cuarón's recycling his BAFTA acceptance speech, but I hardly think that's a crime.


N: "Did we decide on a prize for the winner?"
C: "Of our predictions? No. You're quite far behind though, how about £1000?"
N: "I'm not doing as badly as Liam."
L: "...at least I kept my morals..."


Best Sound Editing

Cameron: A Quiet Place
Liam: First Man
Nick: A Quiet Place

Liam has gone home for the night, by the way, but I'll add in his scores after the ceremony to see how well he did.


A Quiet Place surely will get the award, a film so uniquely about sound and its presence should be a clear winner.


Winner: Bohemian Rhapsody


N: "Oh fuck, really?!"

C: "Oh fuck, really?!"
(simultaneously)


Welp, guess A Quiet Place is getting nothing. "Don't you dare mention Bryan Singer" Cameron snarls, as the acceptance speech is given. Also, we're convinced the guy said 'Birmingham Rhapsody' by accident.


Best Sound Mixing

Cameron: Bohemian Rhapsody
Liam: First Man
Nick: Bohemian Rhapsody

I did say First Man originally but seeing as Rhapsody took sound editing, it's going to get mixing too...


Winner: Bohemian Rhapsody


QED. 7-0-3.


(Discussing Best Picture during the ad break)
C: "It'll be funny if Black Panther wins."
N: "It'll fucking piss me off if it does."
C: *chuckles*


Best Foreign Film

Cameron: Capernaum
Liam: Roma
Nick: Roma

For the record, Cameron doesn't think Capernaum will win, but he's so adamant that it should, that he's pulling a Liam.


Winner: Roma


7-1-4. Cameron grunts, "well, it ain't winning best picture then, is it." I imagine it's the case, I'm even more confident now in The Favourite's victory.


C: "Did he just compare Roma to Jaws?"

N: "Both feature scenes at a beach with kids in peril."
C: "Would be a better film if they'd been eaten by a shark."


Best Editing

Cameron: The Favourite
Liam: Vice
Nick: BlackKklansman

"Vice shouldn't get it," laments Cameron, "but it might because it was 'stylised' and 'cool'."


Winner: Bohemian Rhapsody


Really. Really? Are you kidding? Cameron wishes Vice had got it now.


Best Supporting Actor

Cameron: Richard E Grant (Can You Ever Forgive Me?)
Liam: Mahershala Ali (Green Book)
Nick: Mahershala Ali (Green Book)

N: "How do you spell his name again?"
C: "M-A-H-E-R-S-H-A-L-A, then Ali. Can you spell Ali?"
N: "Yeah, alright alright."


Daniel Craig walks on stage, arm-in-arm with Charlize Theron. "Oh look, he's found the next Bond girl!", quips Cameron. He now realises he's dug himself a hole and wishes to retract his statement.


Winner: Mahershala Ali (Green Book)


Cameron nearly changed his mind moments before the announcement and is now kicking himself for not switching. Tough luck. 7-2-5.


(suggesting Green Book might win Best Picture)
C: "Emma Stone won Best Actress but La La Land never won."
N: "You can't base it off that."
C: "I think you'll find I can."


Best Animated Feature

Cameron: Spider-Man: Into the SpiderVerse
Liam: Spider-Man: Into the SpiderVerse
Nick: Spider-Man: Into the SpiderVerse

I'd like to also clarify I prefer Isle of Dogs, but I think Spider-Man will get it.


C: "Pharrell Williams looks happy"

N: "I'm not putting that in."
C: "You never let me put it in."
(both smirk)


Winner: Spider-Man: Into the SpiderVerse


"My Spidey senses predicted correctly", smiles Cameron. Yeah, I think it was clear it was going to win, considering the overwhelming audience and critical reaction. And I do love it, but I still feel sorry for Isle of Dogs. 8-3-6.


Best Animated Short

Cameron: Bao
Nick: Bao

(I'm poised at my laptop ready to write, Awkwafina is rambling on, wasting time)

N: "Tell me what [award] you're presenting, I need to write it down!"
C: "Mediocrity, by the looks of things"


Winner: Bao 


It's Disney, of course it was going to win. Probably the first time a film about vore of all things has won an Oscar, though. 9-3-7.


Best Visual Effects

Cameron: Avengers: Infinity War
Liam: Avengers: Infinity War
Nick: First Man

It's now 3am. Cameron has descended into madness, quietly singing Shallow to himself, before
moving onto singing Alan Partridge quotes.


When asked about his prediction, Cameron said; "Infinity War, purely because of Josh Brolin's chin." I still think First Man is the more likely winner, thinking from the Academy's point of view.


Winner: First Man


Well, what d'ya know? 9-3-8.


Cameron was horrified to realise upon checking his phone that he originally put down First Man, but since he responded Infinity War when I asked him, I have to take his final answer. Cause if we stick to what we put on the sheet originally, we're both gonna lose a few points. That's final.


N: "It's not what you said in the moment!"
C: "A lot of bad decisions were made in the moment! That's how Brexit happened!!"


Best Original Screenplay

Cameron: The Favourite
Liam: The Favourite
Nick: The Favourite

N: *smugly* "Are you checking the sheet this time?"
C: *glares* "Yes, I'm checking the sheet."
We're all in agreement for this one. Let's see if the Academy is too...


Winner: Green Book


Welp, never mind.
C: "I shoulda put it."
N: "Well, ya didn't"


Best Adapted Screenplay

Cameron: If Beale Street Could Talk
Liam: If Beale Street Could Talk
Nick: BlackKklansman

I'm thinking, since BlackKklansman is the most creatively transformed, considering the original book was essentially a quite dry non-fiction work from what I understand, turning it into the quirky stylish film that it was seems like it might make it the most deserving.


Winner: BlackKklansman


Back of the net! And now it's everything to play for: 9-3-9.


According to Cameron, a lot of male Academy members haven't been voting for The Favourite because they didn't 'get it', for which reason he reckons Best Picture is going to be between Green Book and BlackKklansman. While I was sceptical of this, considering The Favourite has been snubbed for everything so far, despite its ten nominations, I'm starting to get a little concerned. But I'm sticking with my gut and standing by all of my The Favourite-related predictions. For now.


Best Original Score

Cameron: Black Panther
Liam: Mary Poppins Returns
Nick: Black Panther

Considering there was a lot of hubbub at the time about Black Panther's score, and I think Childish Gambino and Kendrick Lamar contributed to it, this seems like a sure-fire win to me.


Winner: Black Panther


See, sometimes sticking to my gut works out for the best. 10-3-10.


Best Original Song

Cameron: A Star Is Born
Liam: A Star Is Born
Nick: A Star Is Born

Winner: A Star Is Born


It seemed a lot of the reason people liked this film was exclusively for its soundtrack. I didn't think much of it, but I could smell the whiff of Oscar from the way people talked about it. Also the fact that they played the song live during the ceremony. I think that helps. 11-4-11


C: "Mark Ronson's used to working with singers who overdose and have addictions"



N: "It's the In Memoriam section now, you can't say anything funny."
C: "Of course I can!"
…
C: "He's Hitler!"
N: "You can't say that, he's dead!"
C: "No, he literally was. In Downfall."
N: "Oh, I see."


Best Actor

Cameron: Viggo Mortensen (Green Book)
Liam: Christian Bale (Vice)
Nick: Rami Malek (Bohemian Rhapsody)


C: "Are we tied?"
N: "Yeah, 11 for 11."
C: "You're going to pull ahead with Malek."
N: "You can change if you want."
C: "No! I'm pulling a Liam."


Winner: Rami Malek (Bohemian Rhapsody)


Yeah, could see this coming a mile off. It always seems to be the transformative performances that grab it, especially into non-fiction characters. On that note, Vice could have snagged this, and I wouldn't have been surprised if it did. Cameron is not a happy bunny. 11-4-12.


Best Actress

Cameron: Yalitza Aparicio (Roma)
Liam: Olivia Colman (The Favourite)

Nick: Olivia Colman (The Favourite)

Come on, The Favourite, you can do it!


Winner: Olivia Colman (The Favourite)


Ok, finally some attention for The Favourite. I'm so glad she's won, after the sheer multitude of roles she's done over the years, with such a range of characters she's performed, it's high time she got such prestigious recognition. Let's just hope this isn't The Favourite's last Oscar of the evening...
11-5-13


Best Director

Cameron: Alfonso Cuarón (Roma)
Liam: Alfonso Cuarón  (Roma)
Nick: Alfonso Cuarón  (Roma)


So, we've realised that Cameron can't actually win at this point since we're all on the same wavelength for Best Director, so there's no way he can make up the two-point difference. 


Winner: Alfonso Cuarón (Roma)


No surprises here. 12-6-14. Now, the bit we've all been waiting for...


Best Picture

Cameron: Green Book
Liam: Roma
Nick: The Favourite

I'm feeling a little conflicted about this now, but I'm still sticking with it. I can't see Black Panther, BlackKklansman, Bohemian Rhapsody or Vice winning. Green Book seems like too much of a low-hanging fruit, too safe a pick for the Academy. A Star is Born hasn't been getting the attention I thought it would, and Roma got Foreign Film instead, and I can't see it getting both. Which just leaves The Favourite, but I can't deny it's not been doing well this evening. And Lanthimos' films haven't exactly won over the Academy in the past. But I just don't know what else could win?

I'll be honest, I don't know which way this is going to go, it could go either way. I think we can all agree, as long as Black Panther doesn't get it, it's not a complete loss...

Winner: Green Book


There we go. Deep inside, I think a voice shouted it at me moments before they opened the envelope (although that may have just been Cameron, who is overjoyed at the result). I can kinda see why, the Oscars remit here seemed to be laser focused on racial representation, and Green Book ticks that theme perfectly, without them having to resort to giving the award to the more popular, mainstream films of Black Panther and BlackKklansman.


I'm still majorly ticked off that The Favourite didn't win, and if what Cameron's said is true about the Academy voters, then that bias makes the blow sting even more. Oh well, it wouldn't be the Oscars without some kind of disappointment.


And so the final score is:
Cameron: 13
Liam: 6
Nick: 14


It was close, and while Cameron took an early lead, I did manage to pull through towards the end. Liam, well, he didn't do as well.


I asked Cameron for his closing statements, and he responded thus;
"I knew Green Book was going to win; even though The Favourite was the better film, it's too progressive for the Academy, they're not ready for it yet. Green Book was like a baby-step; just enough progression to make it seem like the Academy cares, whilst still remaining in their comfort zone."


And with that, we close out another year of Oscars. I've had a really fun night, and while it has been exhausting writing non-stop for about five hours, I've really enjoyed this new format and I might try and do this again next year. I can't make any promises though.


I hope you've all enjoyed reading these ramblings, and that you'll join me again next year. Until then, I promised y'all a Hereditary review early this year, so join me in March or April where I'll be diving into my thoughts on that. See you then.


NOTE: The content of this blog was written and posted in real time as the ceremony unfolded. Edits have been made after the ceremony only for grammar and formatting; our original predictions and opinions remain unaltered from what was said at the time.