The Oscars - Who could upset?

It's that time of year, where millionaires get up on their soapbox, pat themselves on the back and wax lyrical about politics and social issues. Regardless of whether you fall into one of the following camps, it's always fascinating to see what the 6600 Academy members (usually incorrectly) think is the best film of the year.

Which are you?

• You take in all the pageantry, and agree with the choice of winners.
• You feel that it's a good idea, but don't agree with all choices.
• You hate the choices, and don't think the concept of the industry congratulating itself is deserved.

I don't care which you are. Let's get on with the article where I suggest who and what might upset the front-runners in some categories.

BEST PICTURE

PREDICTED: La La Land.

UPSET: Moonlight.

WHY?: It is an important film, made by African-Americans (a group the Oscars have neglected recently); they could try to make amends. Furthermore, they've not chosen the Bafta/Golden Globe winner for the last two years, which was La La Land this year.

LIKELIHOOD: There's a strong possibility, but never underestimate their desire to fawn over a love letter to Hollywood.

BEST ACTOR

PREDICTED: Casey Affleck

UPSET: Denzel Washington

WHY?: His Fences performance won the SAG award, and his aggressive performance could uproot the subdued Affleck.

LIKELIHOOD: Affleck has already won the BAFTA and Globe, so it's fairly unlikely he won't be rewarded for his Manchester By the Sea role. However, Washington has already won two Oscars (including a questionable one for Training Day) and is well-liked by the Academy.

BEST SUPPORTING ACTOR

Usually this category is easier to call. But this year the Globe-winning Aaron Taylor Johnson hasn't been nominated, and other awards have been distributed evenly between Dev Patel and Mahershala Ali. Patel has a lot more screen time, so that could edge it out for him. Lucas Hedges is less likely, but shouldn't be ruled out completely. Michael Shannon's lack of other major nominations is an issue for him, and the nomination itself over Johnson for Nocturnal Animals was a surprise. Elsewhere is Jeff Bridges grumbling it up as usual.

It's a tough call between Patel and Ali.

BEST ACTRESS

PREDICTED: Emma Stone

UPSET: Natalie Portman

WHY?: It's a good embodiment of a real-life figure, taking on a difficult role and doing so successfully. 

LIKELIHOOD: Stone has the award backing behind her so far, and her performance does make her a triple-threat in an era without them, so she is still the strong favourite. Plus, actors who have already won seem to have less of a chance. It's more like every is allowed one Oscar at some point, unless they're especially good.

BEST SUPPORTING ACTRESS

PREDICTED: Viola Davis

UPSET: Naomie Harris 

LIKELIHOOD: Low. Very low.

BEST DIRECTOR

PREDICTED: Damien Chazelle

UPSET: Barry Jenkins

WHY?: Jenkins' passionate, semi-autobiographical story may lack the joyous flair and visual panache of La La Land, but it packs more of a punch. 

LIKELIHOOD: Fairly low, but it's possible that Jenkins can become the first black man to win the award.

The remaining awards (ie the ones the masses don't care about) are generally more set in stone, or will surprise less at least.

ORIGINAL SCREENPLAY

Manchester By the Sea. If not La La Land.

ADAPTED SCREENPLAY

Lion seems likely, but Moonlight might sneak in.

CINEMATOGRAPHY

La La Land might be beaten by either Moonlight or Arrival. Probably the former.

ANIMATED FEATURE

It's probably the race parable Zootopia. Kubo's throwback to Harryhausen could win.

FOREIGN FILM

Toni Edrmann is the frontrunner. I''ll be honest, I know littlle about the others. 

EDITING

Hacksaw Ridge / La La Land.

PRODUCTION DESIGN

La La Land / Hail Caeser.

COSTUME DESIGN

Jackie / La La Land.

MAKEUP AND HAIR

Star Trek Beyond / Suicide Squad.

SCORE

La La Land / Jackie.

SONG

A La La Land song/ Moana.

SOUND MIXING

Hacksaw Ridge / Arrival.

SOUND EDITING

La La Land / Arrival.

VISUAL EFFECTS

Jungle Book. Doctor Strange at a push.

DOCUMENTARY

13th / I Am Not Your Negro.

Spot the point where I begin to lose interest in predicting. Enjoy the Oscars, even though they've made some horrendous snubs. Again.

Moonlight Review - Timely story from a passionate source

Many films are considered timely for addressing issues at a time of upheaval. Most will always be, as certain issues are constant. Moonlight, however, is one of those rare films which will stand the test of time more so than even the finest films tackling race, gender, sexuality or any other topic with a stigma. Not that we here at Boxed Globe have an issue with such topics (although we're not sure about Richard).

Barry Jenkins bursts into the mainstream with his second feature, drawing from his own personal experiences and a Tarell Alvin McCraney play to tell the story of 'Little' Chiron. Growing up in Miami with a drug addict mother (Naomi Harris) and coping with his suppressed sexuality, Chiron's life is separated into three sections, with each featuring a different actor to play Chiron. 

The first sees Alex Hibbert taken under the wing of drug dealing father-figure Juan (House of Cards' Mahershala Ali) whilst first being alienated by peers. Ali is an engaging presence as Juan, beguiling all around him despite his profession. An especially gripping scene where addict clashes with dealer demonstrates the range of both Ali and Harris. The latter is present throughout all three acts, convincingly portraying the traits drug dependency to an effectively discomforting degree. Unfortunately, the former's screen time is tragically limited, to the point where he's sorely missed.

Not that the performances of Harris, and the following two Chirons don't make up for it. Ashton Sanders is the teenager in his informative years of bullying and sexual confusion, while Trevante Rhodes is the adult Chiron, emulating Juan and successfully dealing drugs, but still harbouring unresolved issues. All three actors covering the frustrated life carry the same quiet rage in their expressions, delivering a powerful performance between them. Little/Chiron/Black truly has one of the most moving character arcs in film. His discovery of, suppression of and chance to accept his homosexuality is moving, and makes Moonlight so important. 

Pulling the strings is Jenkins, infusing every frame with passion. Harris is as convincing as she is because of the director's relationship with his mother. Jenkins' understanding of the subject matter and ability to direct 'the talent' - combined cinematographer James Laxton, using some stunning high-contrast shots and an appropriately blue colour pallet - creates a visually beautiful, poetic movie about identity. Go see it and let it get underneath your skin.

We'll say FIVE STARS. But this is an arbitrary ratings system so it doesn't matter. Read the words people write for God's sake, not the pointless number they assign it.

John Wick: Chapter 2 - Kinetic thrills, don't expect much plot

Daniel Craig having a hole shot through him and falling off a 100-foor bridge? Piece of piss. Try being hit by ten different cars over the course of a few days and continuing on to amass a body count so large it would make Bond feel insecure. Clearly - like the Fast and Furious franchise - the makers of John Wick don't give one about realism.

After all, this sequel to the (somewhat Indie) 2014 action film builds on the fantastical assassin's underworld of laws and safe-house hotels as Keanu Reeves' titular hitman is dragged back into his old life. Still. Chapter 2 picks off right after its predecessor. Wick has to take on a contract. He is double-crossed. He is hunted. It's all very formulaic stuff, but what makes this franchise work is the combination of real-life martial artist/ human weapon Reeves and director Chad Stahelski (co-director David Leitch only produces this time around).

Stahelski's stunt background comes into play again to give more sensational action, including some neat cross-cutting montages of Wick dispatching waves of assassins. Reeves' mixture of grappling and gun-play is as seamless as ever, although after a while the endless onslaught of enemies makes the film feel like someone is playing Hitman on easy difficulty. Even so, the tension is built back up (and the weak script redeemed somewhat) with some fairly unexpected detours in the final act. 

With a doubled budget of $40 million compared to the first outing's $20 million, Stahelski goes all out on locations and a higher profile supporting cast, but lumbering them with posturing dialogue removes some of the grace the film would have had; Laurence Fishburne's scenery-chewing may only last a few minutes, but his over-the-top laughter leaves large teeth marks. Nevertheless, it looks great, and if you're filling to suspend your disbelief enough to accept a bullet-proof suit, John Wick: Chapter 2 will regale with some inventive action beats. Notably, a trippy hall of mirrors that manage not to feel like every other such fight, a pencil and an almost laughably conspicuous exchange of gunfire in a train station between Common and Keanu.

Try to have fun with it.

We'll forgive its flaws mostly. FOUR STARS. But why not aim for the head more? ? He doesn't have a bullet proof snapback.

The Lego Batman Movie - Two Fingers to Suicide Squad

After a year of critical inconsistency and moderate (if disappointing) box office returns for DC pictures, it's no surprise that the spin-off to one of 2014's most acclaimed animated films would continue the success of its predecessor. Why is Lego Batman better than the last two DCEU films? It understands the characters. The very concept of Batman and his villains is ridiculous, and Chris McKay don't shy away from that.

Will Arnett is the gravel-voiced egotist, joyfully trashing his villains on a routine basis, especially Zach Galifianakis' Joker (the funniest through-line sees their hatred for each other played like a romantic relationship). Batman - despite being in a relationship with someone in The Lego Movie - is very much a lone wolf, refusing to co-operate with new police comissioner Barbara Gordon (Rosario Dawson), his concerned butler (a perfectly cast Ralph Fiennes, given little to do) or the irritating orphan he accidentally adopted (Michael Cera). All the voice actors make for ideal parodies of their serious counterparts.

The plot develops in surprising ways, with a plethora of other Warner Bros properties being wheeled out, from Harry Potter to Gremlins. You'd be forgiven for calling this shameless cross-promotion, seeing as it's fairly jarring to see the caped-crusader fighting Sauron. But this is a minor quibble when meta-gags are thrown relentlessly at the audience, covering everything from the stupidity of Suicide Squad to the questionable shark-repellent from 1966. Virtually all of these jokes land, even the ones aimed at the youngest viewers, largely thanks to the hilarious delivery of Arnett. There's plenty of stuff for older audiences, including a great riff on Jerry Maguire.

Batman's loneliness is made painfully obvious from the outset, but  the obviousness of the overall message of working together is passable considering the laughs-per-minute and fact it's a children's film. Not that that takes away from the marvel of the animation; regardless of whether or not the wee baerns will appreciate it, the way the Lego figures are lit and move is still astonishing the second time around.

FOUR STARS. Worth going to a screening filled with annoying children and tired parents seeking respite and regretting settling into a life of crippling mundanity and monogamy.

Fifty Shades of Grey Review - *groans*

With Fifty Shades of Grey box office gross of nearly $600 million, the sequel Fifty Shades Darker would always be creeping into cinemas, thanks to people craving a crafty public wank making the first film adaptation a mint. Boxed Globe will probably not be reviewing the new installment, so instead we subjected ourselves to the 2015 film, such as it is.

Jamie Dornan plays obvious sociopath billionaire Christian Grey, who - after the most awkwardly ludicrous interview that a college newspaper managed to arrange somehow - gradually entices Anastasia Steele (Dakota Johnson) by harassing her at work and dragging her into his hotel room when she's drunk for her own 'safety'. Regardless of a creepy man buying suspicious items and offering her a formal contract rather than a meaningful relationship, she's game. Grey is an emotionless husk of a man and Steele is an irritatingly naive student. Needless to say, the two leads have in chemistry what Kim Basigner had in money after spending $20 million on a whole town: not a lot. That said, it doesn't take a genius to realise why these two attractive young actors were chosen for a dull film reliant on sex appeal.

The screenplay, such as it is, treads water until these scenes, and contains gems of dialogue lifted presumably straight from the book, which was originally Twilight fan fiction on a Blackberry in case you were curious about the quality. 'How did lines like "I fuck. Hard." and "I'd like to fuck you into the middle of next week." not earn an Adapted Screenplay nomination?' (asks EL James and only EL James). The whole affair is mind-numbingly baffling - statutory rape is played off as passing exposition no one cares about. As Anastasia begins to regret her decisions, the reaction will probably be one of 'well of course it would be like this you muppet'. 

The only saving grace is Seamus McGarvey's cinematography. The man behind Atonement's stunning Dunkirk tracking shot manages to wring out a few neat shots here and there, but find a pound coin in a piggy bank of coppers doesn't make you a rich man. Even Danny Elfman doesn't escape unscathed with a bland score. Low expectations met? You betcha.

ONE STAR. Spare a thought for Kelly Marcel, having to adapt this 'book'.

Hacksaw Ridge Review - Sturdy War Drama with a Sprinkling of Sap

   

    What? No, I don't remember anything about any racist comments. Let's just carry on and watch this here war biopic detailing the incredible story of Desmond Doss, a religious conscientious object who braved the battle of Okinawa to save the lives of the gravely wounded, without carrying a weapon.
    Andrew Garfield is Doss in Mel Gibson's drama, applying his effortless charm and puppy-like features to play the humble hero with a grin so wide etched onto his face he looks like a sane version of The Joker. While his performance ticks all the emotional boxes to warrant acclaim, it does pale somewhat in comparison to his more layered turn in Silence. That said, he nails the Virginian accent. Others don't always. As good as Hugo Weaving is and as fine as Sam Worthington is in their roles,  their native Australian slips through here and there. In addition to these cast members is Vince Vaughan as the watchable Sergeant Howell, an easy role that requires shouting and some glaring. All in all, it's Garfield's show; the film literally rests on his shoulders for long stretches.
    The first third of the film deals with Doss' backstory and cheesy courtship of Dorothy (Teresa Palmer), but once there it puts the Gorgonzola aside and kicks into gear, Gibson's strengths are most apparent. The visceral battle - which consumes about half of the run time - is one of the most astonishing and brutal put to screen, and justifies seeing the film for the most part, seeing as the remainder is fairly predictable drama (Gibson's never been a dab hand at storytelling which isn't brash and occasionally manipulative). However, it certainly makes the price of admission worth it as Mad Max shoves you onto the edge of the seat and shocks your sternum with harrowing visuals and abrasive sound. It really validates Doss' stance against violence.
     Speaking of validation, for some reason Hacksaw Ridge is prefaced with the old "Based on a True Story" chestnut and climaxes with documentary footage of those involved. Is it needed? Not really. Is it sweet to see the real life Doss in all his soft spoken glory? Yes.

FOUR STARS. PS. You're still an anti-Semite.

PPS. Yes I know there's been a lot of Four Star Reviews recently, but I assure you we know other numbersh.

T2: Trainspotting Review - A Stylishly Nostalgic Return

Danny Boyle has said that the sequel to his cult phenomenon Trainspotting was delayed because the actors looked like they had barely aged. Thankfully, they still haven't changed in many senses; Ewan Mcgregor, Ewen Bremmner, Johnny Lee Miller and Robert Carlyle all slip seamlessly back into the iconic roles which brought them international recognition twenty-one years after the fact. However, T2: Trainspotting itself isn't exactly the same animal as the original in terms of focus.

John Hodge's script picks up two decades after Mark Renton (McGregor) shafted his friends out of £16000, and needless to say, Simon/Sick Boy (Miller), Spud (Bremmner) and Begbie (Carlyle) haven't put the past behind them. Simon is dabbling in running failing pubs and blackmailing school teachers with his accomplice Vernoika (the irritatingly named Anjela Nedyalkova, thanks for that spelling), while Begbie (Carlyle) has just escaped prison. Bremmner's Spud is given the meatiest role: a junkie who's hit rock bottom. The gormless heroin-user has Forrest Gump levels of likability, and as he tries to claw his way out of the pit his life has become, Bremmner gives a touching performance that the first film didn't allow room for.

A slew of characters return for cameos, notably James Cosmo as Mark's widowed dad (some clever lighting trickery demonstrates the presence left behind by Mark's mum). Also returning are various shots from the original, from the train station line-up to Mark's near miss with a car. These callbacks hang over the quartet like the memories they reflect on what to do with the remainder of their lives or how to avenge the wasted time they've left behind them. That's where the focus differs from the 1996 predecessor: instead of drug addiction, Boyle chooses memories. Admittedly, he also chooses a some callbacks which may be a tad superfluous, like the revamped 'Choose Life' speech which doesn't quite have the same effect. This focus on memories also means the ever-so-slightly scattershot plot takes a backseat to the recollecting and consequences of the past.

Not much has changed for the characters in twenty years, but the presence of needles has been drastically reduced even if a shadow lingers. History repeats itself in some ways. Is that a sign of banal repetition? No, because to see how the scamps have developed (or haven't) with the slick visual style - accompanied perfectly by a soundtrack that pumps fists and elicits damp eyes - makes T2 extremely entertaining. 

Like the James Cameron sequel its title mocks, T2 is a worthy sequel. Warmly nostalgic without slipping into sentimentality, which isn't really a description that could be applied to Judgement Day.

FOUR STARS. The antithesis of Zoolander 2.