What We Learned This Week: February 27-March 1

LESSON #1: ROTTEN TOMATOES IS DOING THE RIGHT THING— Better late than never and following the lead of IMDb, the popular review aggregator website is banning user reviews being posted to films prior to their release.  This week, internet trolls were piling on Captain Marvel before the film was even released.  Since there’s no good way of vetting strangers off the streets versus the critics that build the Tomatometer (myself included), this was a necessary stoppage and a measure I wholly appreciate.  Let the pros lead the way first and users join in after. There’s no need for haters trying to make an internet name for themselves hijacking a film’s standing with unsubstantiated garbage and fake reviews like that.  

LESSON #2: ROGER EBERT WAS HUMAN— Speaking of film critics and piggybacking on the Oscars crowning a new year of “best” films and performance, I stumbled across a 2016 article on Taste of Cinema that dug through the archives of Roger Ebert to find ten great films, some with Oscar successes, that he “hated” with less-than-stellar reviews.  From Gladiator to Reservoir Dogs and more, it’s quite a little list.   

LESSON #3: STEVEN SPIELBERG, HARVEY WEINSTEIN, GEORGE LUCAS, PETER JACKSON, AND JAMES CAMERON ARE THOUGHT OF MORE HIGHLY THAN GOD— With awards season just completing with the Oscars this week, I found an interesting little article last fall on MovieWeb that collected acceptance speech data from the Academy Awards up to 2015.  As it turns out, the five most thanked people at the Academy Awards before God were the five men mentioned in the lesson title.  Other fun data from the study included that the Academy was thanked 43% of the time and parents thanked only 28% of the time. How about that?

LESSON #4: PHYSICAL MEDIA CONTINUES TO TAKE HITS— With the push of streaming services and digital access, we’re slowly seeing physical media inching closer to becoming an endangered species.  I think we’ll alway have a niche like the Criterion collection for high-end keepers and this new little wave of 4K, but expect those store shelves and home displays to shrink as the years continue.  One big body blow to the standing of physical media came this week with Samsung announcing they are not longer going to manufacture Blu-ray players.  This feels heftier and more uncertain than the transitions we’ve lived through in the past (VCR to DVD, DVD to Blu-ray) because there’s not a new physical “thing” replacing the previous media.  We have files and hard drives now. Welcome even more to the future.  

LESSON #5: TREAT YOURSELF TO A GOOD JOURNALISM MOVIE— If you’ve been following WWLTW lately, I like ending on a thematic list of recommendations.  Call it homework assignments or something to build for Letterboxd. This week, take a gander at this list of the 10 best journalism movies as listed by the Washington Post.  There’s not a bad film on it.  Use the JustWatch app or search engine to find where they are available for streaming or rental

 


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

Episode 151: 2019 Oscars/Feeler’s Choice Awards Recap

This week we react to the 91st Academy Awards, announce the 3rd Annual Feeler’s Choice Awards, and reveal the three winners of our Burning Blu-Ray giveaway.

91st Academy Awards Recap – 0:04:35

2019 Feeler’s Choice Awards – 0:50:51

 

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What We Learned This Week: February 17-26 Post-Oscars Special

LESSON #1: WE HAVE AN OUTRAGE CULTURE PROBLEM— Between the old John Wayne story at the beginning of the week and Green Book’s Best Picture Oscar win last night, we continue to learn (more like re-learn) that we have a consistent section of the social media population that seek things to be upset about, no matter if those chosen topics or pillars are part of their actual lives or not.  John Wayne and his politics are dead. He’s but one of many Hollywood figures over the course of history to be on the wrong era and side of equity and equality. Boycott every artist with questionable opinions, then or now, and you wouldn’t have much to watch. At the same time, no one is forcing you to see Green Book and call it the best of the year.  Love what you love.  Let differences of opinion say as small as they matter.  The world keeps on spinning after both so-called disasters.  All the more reason to avoid Twitter. Fixing the future is better than squawking about the past.

LESSON #2: WE LIVE IN A WORLD WHERE BOHEMIAN RHAPSODY IS A FOUR-TIME OSCAR WINNER— Rami Malek was wonderful, but the rest of those wins (editing and two sound awards) are really suspect.  Looking into the history books, check out what Bohemian Rhapsody’s four trophies puts it equal with and ahead for multiple wins.

EQUAL:  Butch Cassidy and the Sundance Kid, All the President’s Men, Network, Ordinary People, Raiders of the Lost Ark, Platoon, Rain Man, Unforgiven, The Lord of the Rings: The Fellowship of the Ring, The Departed, No Country for Old Men, Inception, Birdman, Life of Pi, The Shape of Water, and more

AHEAD OF:  Miracle on 34th Street, The Adventures of Robin Hood, Brokeback Mountain, All Quiet on the Western Front, a few more, and all the films with one or zero Oscars.

That’s astounding company of comparison, if I may say so.  Enjoy using the “we live in a world where ___” line for any number of new Oscar winners in any given year.  Every Oscar winner has a worst moment or career low point that can be cited and compared to a non-winner. For example, the directors of the Urban Legends: The Final Cut (John Ottman) and Stuck on You (Peter Farrelly) now have more Oscars than Alfred Hitchcock or David Fincher.  It’s fun for a second, but don’t belabor the joke too long.

LESSON #3: NO MATTER WHAT, GOOD HISTORY WAS MADE AT THE 91ST ACADEMY AWARDS TOO— Behind the questionable wins for Bohemian Rhapsody and Green Book, it was a good night for burgeoning diversity, led by Black Panther, BlacKkKlansman, and female artists left and right.  Stay tuned to the Feelin’ Film podcast this week for their recap show.  Aaron White has an outstanding list of first and achievements to share with you on the awards recap episode of Feelin’ Film.

EPISODE 151: 2019 Oscars/Feeler’s Choice Awards Recap

LESSON #4: NOT TOO MANY PEOPLE MISS HAVING AN OSCAR HOST— It had been 30 years since the last hostless Oscars. 1989 was a legendary trainwreck because of it. The 2019 edition moved quite swimmingly until that last hour when the bigger awards require more individual time.  The whole show clocked in at three hours and twenty-two minutes, which is nearly a half-hour less than last year. It felt shorter, tighter, and quicker. I’d be very OK if it stayed that way. Let the jokes come from smart presenter choices and let that be the lightness.  Also, someone needs to pay that announcer Randy Thomas (her tenth show) a fat bonus for keeping it quick and properly teasing for the viewers for the telecast all night. Hey, did you hear Bradley Cooper and Lady Gaga were going to perform “Shallow?” Yeah, me too, like a dozen times.  Hook and hold on to those viewers, ABC.  Jokes aside, the streamlined show and all its teasers worked.  Rating show this year’s show was up 12% from last year’s all-time low… to the second lowest show ever.  Well, up is up and there is a long way to go. In my opinion, the movies are the draw and never the host or the side acts.    

LESSON #5: THE MOMENT OF THE NIGHT— Speaking of that, let’s enjoy the absolute peak performance of any kind from last night.  The lighting, the reversed shooting direction, the steps up from the audience, the wardrobe, the emotion, the constant eye contact, all of it, was mesmerizing.

 


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

What We Learned This Week: February 10-16

LESSON #1: THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES WAS (AND STILL KIND OF IS) CARELESS, UNINTELLIGIBLE, AND DISRESPECTFUL TOWARDS THEIR OWN INDUSTRY— On Monday, Academy president John Bailey revealed that rumors were true.  In an effort to shorten a bloated show and improve ratings, four categories were announced to become relegated to commercial breaks.  At the last minute before the publishing of this post, they relented. The four that were getting the cold shoulder were Best Cinematography, Best Editing, Best Makeup and Hair-Styling, and Best Live Action Short.  The damage is done and they still deserve the lecture.  Let’s start a train of “to say it simply” sentences.  Begin with careful use of time.  You can’t tell me there weren’t smarter cuts of time possible in a hostless telecast.  Trim the gags, bits, montages, and other weak joke fluff.  Cut the half-hour red carpet show and just leave that to E! where it belongs.  How hard would that have been? Maybe they needed to consult an editor… oh wait… Second, look at optics. I was astonished that in the room of AMPAS decision-makers, a team of artists and industry professional peers, there was a lack of perception of what this kind of move looked like.  Did they not just get slammed this past year for the silly Popular Film category suggestion?  Does no one internally pay attention?  This became a double defeat in the court of public opinion before the awards even arrive and they stood down Friday.  The AMPAA looked like they can’t handle or put on their own show after 90 years and the subtraction immediately looked like disrespect.  Doing this wasn’t appeasing casual fans who are impatient with award shows more than it alienated the base of true fans.  It’s the cinephiles and movie lovers that bring in the casual fans, not the other way around.  Alienate them because you dumbfoundedly admonish your own people and you ruin the whole thing with bad press and social media outrage. 

LESSON #2: PUBLIC PRESSURE WINS BECAUSE IT CAME FROM THE RIGHT LEVEL OF PEOPLE— The pressure it took on the Academy to properly honor the people below the title was to rally people above the title.  I’m not the type to boycott anything, but I get why people weren’t going to watch the Oscars (and they still might not).  The group fixed it are the precious people the TV cameras beg to see: ACTORS.  They are the largest voting body in the Academy. If the #MeToo movement has taught us anything, they had clout and these were fitting politics to flex.  They look great and unselfish today to honor their fellow artists. The preening performers rallied get behind the craftspeople that make them look good and insisted on their proper inclusion. The Academy rightfully blinked.

LESSON #3: BAD CGI CAN KILL A MOVIE BEFORE IT STARTS— The latest new teaser of Disney’s Aladdin re-imagining gave viewers our highly anticipated first look of the special effects being used to morph the jovial Will Smith into the famed blue genie.  And holy cow did the internet react.  Memes for days!  The fallout calls to mind so many frequent and intersecting WWLTW lessons.  I could bring back my frequent plea for Disney corporate patience where the studio can avoid rushing these projects, but this one’s been in development with director Guy Ritchie for three years.  That’s more than enough time to spend money, go back to however many drawing boards, and get something to look right, especially with Disney’s deep pockets.  I could spout off about excessive and unnecessary marketing, but this trailer is actually the smallest amount of peek compared to other teasers.  It just looks like crap at this point and is going to need tricks under its sleeves.  I could try to preach to let Will Smith and this Aladdin incarnation be its own thing without comparisons to Robin Williams and etc, but that’s not possible when one its objectives and reasons for being is to blend and update the animated original.  I could try to stump for patience to see the full film before judgment, but the damage is done, echoing similar a unfinished-effects-buzzkill 2003 gave us for Ang Lee’s Hulk.  I’m calling it now.  This will be your Solo-level box office “underperformer” (I won’t say “bomb” because all of these movies are too big to fail) for the Mouse House in 2019.  This will set off a momentary pause button that makes the studio question how and why they do these re-imaginings in the same way they gave Star Wars some reorganization last year.  I say temporary because that feeling will only last 56 days, the amount of time between Aladdin‘s box office debut and the arrival of The Lion King on July 19, which has played its cards far better to make an absolute killing.

LESSON #4: SEE SOMETHING PRETTY— In honor of Valentine’s Day and as a celebration of the art of cinematography before Oscar bounces them like a football timeout, treat yourself to some of the finest artistic visual beauty that exists in cinema.  The American Society of Cinematographers recently published this list of the 100 best shot films of all-time.  Topping the list are Lawrence of Arabia, Blade Runner, and Apocalypse Now!, three damn worthy champions of cinematography.  Spanning vistas and shadows to color and monochrome, this films on this ASC list are sterling examples of why this art is important.  Create a new checklist for yourself with this one.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

What We Learned This Week: February 3-9

LESSON #1: LIAM NEESON IS IN BIG TROUBLE NO MATTER HOW YOU LOOK AT IT— And here I thought a few weeks ago in this column space, that John Lasseter was going to a big test for post-outrage career paths.  Matching the pulling of the actor’s PR appearances for Cold Pursuit this week, his situation, stemming from his poorly-placed personal admissions and steps towards change in the years since, has two impacts: personal and professional.  The forgiveness, recovery, and damage control are different for both worlds.  He may be able to show his face and make appearances to continue the soul-baring conversation he started, but he may be radioactive on the business side for a while.  I still say if Hugh Grant can be arrested for soliciting a prostitute two decades ago and be the Oscar-worthy villain of Paddington 2 years later, the zero laws broken by Liam Neeson can make redemption possible.  It definitely going to take more than good kissing.

LESSON #2: INTERMISSIONS ARE A WORTHWHILE IDEA— Word around the internet campfire is that the latest edit of Avengers: Endgame is still a mammoth three hours and Disney is considering building in an intermission into film.  I’m all for it. Trim no more. Pick a dynamite editing point for some exhaling and reflection. Give us a bathroom break and a rousing Alan Silvestri overture while we refocus.  Nail that tone. If any film could pull it off, it’s this future juggernaut. Intermissions would extend running time and prevent as many turnstile turns and showings compared to some 90-minute hopscotch movie, but plenty of long films have scored at the box office.  Avatar was 162 minutes.  Titanic was 195.  They made billions.  Bottom lines will be fine.

LESSON #3: FINDING THE RIGHT TONE— Speaking of tone, one of the reasons Universal Pictures’ Dark Universe failed was that it wasn’t dark enough.  The Mummy was a Tom Cruise vehicle, not a thriller.  Even though the old Boris Karloff and Bela Lugosi classics aren’t anywhere near hardcore horror by today’s tastes, these characters (and others) are still monsters.  Give them some teeth and some edge, not sugary action fluff. Universal’s hiring of producer Jason Blum and Upgrade director Leigh Whannell for their Invisible Man remake is the right direction to go with smaller aims and horror expertise.  That’s the tone you need here.

LESSON #4: STEVEN SODERBERGH IS THE SMARTEST GUY IN THE ROOM AND GETS NO CREDIT FOR IT— The Oceans series director recently did an interview with Deadline talking about his career path.  One tangent delved into the underwhelming results of his last two films Logan Lucky and Unsane.  Both were well-reviewed films that were lost to audiences.  The grassroots and cost-minded Soderbergh saw marketing costs skyrocketing in the industry and considered it a threat to the success of true independent film working on small budgets.  Fascinatingly, Soderbergh wanted to try spending less (no junkets, talk shows, and more) on those two recent films, going more the viral routes. He found that the silly and preening attention that comes from late-night couches and more gets more attention than social media.  I wish he wasn’t wrong because the fluff is too much and too frivolously expensive. Fascinating interview from a guy with a heck of career arc.

LESSON #5: KNOW WHEN TO SAY WHEN— It looks like Vice Oscar nominee Christian Bale got The Matt Damon Diagnosis recently.  Here at 45 years old, the toll of the “yo-yo dieting” going back and forth between dramatic weight losses for The Machinist and The Fighter and unhealthy weight gains to play American Hustle, Batman, and Dick Cheney has caught up to the actor.  Citing his mortality, Bale says he won’t go through those swings again and let the makeup do the magic.  Wise decision, Christian. We want you to hang around for as long as possible.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

Oscar Locks

It’s an annual tradition in my house. I spend 9 months of the year trying to convince myself that I don’t care at all about movie awards. I don’t need fancy, self-important awards shows to tell me what’s good. Sure, I’m not a critic, but I’m a dude who watches a whole lot of movies. I can decide for myself what’s good. Then, once December rolls around, I’m a triggered, angry mess for 3 long months as the awards roll in for all of the movies that I didn’t end up seeing. Well, not this year. This year, I’ve seen more movies than ever before and I’m ready to not be disappointed come time for Oscar’s big night. So for your reading pleasure, here’s a list of a few of the awards I’m looking forward to with a film/actor or two that should’ve been nominated but wasn’t, the nominee I want to win, and the nominee that I believe will win.


Animated Feature

Spider-Man: Into the Spider-Verse, Incredibles 2, Mirai

Wreck-It Ralph 2: Ralph Breaks the Internet, Isle of Dogs

Should’ve been nominated: I’m going to start off here with a pretty boring opinion, but I think the nominations here were pretty good. I haven’t seen Ralph Breaks the Internet or Mirai, but all of the other three were great movies that I really enjoyed.

I want to win: Spider-Man: Into the Spider-Verse. This movie is a game changer in the world of animation. It’s funny, smart and gorgeous to look at. I can’t wait for my next opportunity to visit the Spider-Verse.

Will win: Spider-Man: Into the Spider-Verse

Supporting Actor

Sam Elliott, A Star Is Born; Richard E. Grant, Can You Ever Forgive Me?

Sam Rockwell, Vice; Mahershala Ali, Green Book; Adam Driver, BlacKkKlansman

Should’ve been nominated: Hugh Grant, Paddington 2. The Paddington sequel was one of the first 2018 films I saw and Grant’s performance as aging villainous stage actor Phoenix Buchanan has remained my favorite throughout the entire year.

I want to win: Sam Elliott and his glorious mustache or Adam Driver. Sam Elliott because I love Sam Elliot and the small amount of time he gets in A Star Is Born is very, very good. Adam Driver is just dynamite in BlacKkKlansman. I’m always impressed when someone plays a role of someone who is playing a role and Driver does it about as well as anyone I’ve seen.

Will win: Richard E. Grant. I haven’t seen Can You Ever Forgive Me?, but he seems to be winning everything else.

Supporting Actress

Regina King, If Beale Street Could Talk; Amy Adams, Vice; Rachel Weisz, The Favourite

Emma Stone, The Favourite; Marina de Tavira, Roma

Should’ve been nominated:Rachel McAdams, Game Night. She’s a total delight and boasts a comedic timing that is absolutely on point in the funniest movie of the year. “But she’s a lead, Jeremy,” you might say. And you’d be right, but so are Rachel Weisz and Emma Stone.

I want to win: Regina King. I haven’t seen the movie, but I hear she’s great and I think the Academy finally makes up for snubbing her work in Jerry Maguire in 1996.

Will win: Regina King

Actor in a Leading Role

Christian Bale, Vice; Bradley Cooper, A Star Is Born; Rami Malek, Bohemian Rhapsody

Viggo Mortensen, Green Book; Willem Dafoe, At Eternity’s Gate

Should’ve been nominated: Ethan Hawke, First Reformed. Paul Schrader’s film is criminally underrepresented in this year’s nominations. Sure it got a screenplay nod, but it very easily could have gotten a director and picture selection as well. Being left off of those lists is understandable. It was a strong year in film. What isn’t understandable is Ethan Hawke not being recognized for what is arguably the best work he’s done in a very long and storied career.

I want to win: Bradley Cooper

Will win: Christian Bale. Rami Malek does have momentum in this race, but for some reason, Hollywood is really keen on Vice. And Bale’s transformation just to get in character is easily the best part of Vice.

Actress in a Leading Role 

Lady Gaga, A Star Is Born; Glenn Close, The Wife; Olivia Colman, The Favourite

Melissa McCarthy, Can You Ever Forgive Me?; Yalitza Aparicio, Roma

Should’ve been nominated: The list here is really long. Regina Hall (Support The Girls) and Amandla Stenberg (The Hate U Give) both have strong arguments. But if you would’ve told me that Bo Burnham’s Eighth Grade was simply video of an awkward teenage girl being filmed without her knowledge, first I would’ve thought that was super creepy, but second I totally would’ve believed you. That’s how amazing Elsie Fisher is in that film.

I want to win: Lady Gaga

Will win: Glenn Close. Because no one has seen The Wife and the Academy hates me.

Director 

Spike Lee, BlacKkKlansman; Alfonso Cuarón, Roma; Adam McKay, Vice

Yorgos Lanthimos, The Favourite; Pawel Pawlikowski, Cold War

Should’ve been nominated: Bradley Cooper, A Star Is Born. I don’t understand how Adam McKay got a nomination over Cooper in this race. Vice is fiercely adequate as a film, but from Adam McKay it’s hardly a stand-out. It’s an angrier The Big Short with the smugness turned up to 11. I don’t think it should’ve been shut out, there are some legitimately great performances that deserve to be recognized, but it doesn’t belong anywhere in the vicinity of this category or Best Picture.

I want to win: Spike Lee, BlacKkKlansman. Some people might call a win for Lee a career achievement award. I think those people would be wrong. BlacKkKlansman is one of the most important films of the year and Lee presents it in a package that is funny, intriguing, intense, and uncompromising.

Probably will win: Alfonso Cuarón, Roma. I’m not sure if it’s the dog crap or the naked martial arts, but people are super into Roma. In all seriousness, it is a beautiful film and every moment feels crafted with love. I wouldn’t at all be upset to see Cuarón go home with the statue.

 

Best Picture

Black Panther, Green Book, BlacKkKlansman, Roma, A Star Is Born

Vice, Bohemian Rhapsody, The Favourite

Should’ve been nominated: Blindspotting. It’s better than anything else on this list. Full stop. No snark, no quips, it’s better than anything else on this list.

I want to win: A Star Is Born is my favorite movie nominated, but as an unashamed lover of superhero movies, I’d love to see Black Panther go home a winner.

Probably will win: Roma. If I’m being honest, picture is the only category where I really don’t have any idea what’s going to win. I’d love to think that A Star Is Born would have a good chance because of how well it’s performed at the box office since it’s release in October, however that’s hardly an indicator of awards success. Roma is currently the odds on favorite, most likely due to it nearly sweeping the critic awards so far this year. But I think this is looking like a pretty tight race, so I’d keep checking in over there until you have to turn in your picks for the office Oscar pool.

 

There you have it. Those are my picks. Get your bets in on time. I’ll take 60% of your winnings and you can cover any losses (there won’t be any). And as a bonus for making it this far, I’ll give you one more quickie: I don’t want to be over-dramatic, but if “Shallow” doesn’t win Best Original Song, I’ll light myself on fire. Your move, Academy.


Jeremy Calcara is a contributing member of the Feelin’ Film team. Follow him on Facebook and Twitter to be notified when new content is posted.

 

What We Learned This Week: January 19-February 2

LESSON #1: YOUNGER IS BETTER AND LONGER LASTING— Before you say “that’s what she said,” let me explain that I’m are talking about Batman.  Word hit hard that Ben Affleck is retiring (i.e. passed over and forced out) from the role of the Caped Crusader, one he already entered while in his 40s (granted, they sought a veteran intentionally).  Warner Bros. moves forward with the Matt Reeves-helmed The Batman for 2021 and I’m begging they go younger.  Don’t do another guy over 40 and don’t even do another actor in their mid-to-late 30s.  Lock in a steady Batman in his prime and past his overly-told origin story in the starting age range of 25-29.  Let that guy own the role for a decade instead of being interchangeable like bad underwear.

LESSON #2: THE INDEPENDENT SPIRIT AWARDS ARE LOOKING BETTER THAN THE OSCARS RIGHT NOW— Between the many harebrained decisions and non-decisions being made by the Academy and their show producers (awards during commercial breaks, go/no-go on song nominees) and their semi-questionable nominees, the Oscars are looking like a, pardon my French, a s–tshow right now.  I look the day before the Oscars at the slate and schedule for the Independent Spirit Awards and I’m duly impressed.  Those are true nominees of the best of film.  That’s a red carpet and party I’d rather be at.  

LESSON #3: NETFLIX KNOWS WHAT’S GOOD FOR THEM— Speaking of the Oscars, there has been an anti-Netflix sentiment for the last few years.  This simmering industry stench of haters surrounds how Netflix’s streaming service does not commonly include theatrical distribution.  One of the Academy’s rules for awards qualification is to have at least a soft theatrical release somewhere. Netflix has bent to that in small ways (Mudbound) and big ways (Roma).  Well, their biggest bend of all dropped soon after Netflix snagged 15 total nominations when they agreed to join the MPAA.  It’s an olive branch of commitment to make nice and do good by the industry that they are steadily part of reforming every year.

LESSON #4: NETFLIX KEEPS REMINDING US HOW AMBITIOUS THEY ARE— At the same time the streaming giant shows industry savvy, Netflix continues to stoke its hubris fires with the burning of subscription dollars (thanks, price increases!).  Back at the end of December, Netflix announced its intentions of pacing to churn out 90 films a year with budgets as high as $200 million.  That’s beyond huge.  That’s bigger than Disney’s output.  With every high profile acquisition, every word-of-mouth hit, and, more importantly, every influx of subscribers, Netflix becomes a bigger player.  A critic like me or Aaron and Patch on Feelin’ Film could cover only Netflix films and fill a year’s worth of review quota.

YOU CAN’T BEAT FREE— Marvel is partnering with AMC Theatres to re-release Black Panther for FREE at several locations during Black History Month.  Folks, you won’t find a better price to see an Oscar nominee short of some library screening or summer kids club event at a daycare center.  You get Ryan Coogler’s gem with all the bells and whistles of a real big screen. Go catch it again or for the first time.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

FF+ The Kid Who Would Be King, Oscar Nom Reactions, and Shazam!

In this week’s episode of FF+ Aaron reviews Joe Cornish’s new film The Kid Who Would Be King, we react to this year’s Oscar nominations, and then we talk some about our hype for the upcoming DC superhero film Shazam!

New For You (The Kid Who Would Be King) – 0:01:40

In the News (Oscar Nom Reactions) – 0:08:51

Trailer Talk (Shazam!) – 0:33:47


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Music: City Sunshine – Kevin MacLeod

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2018 Oscars and Feeler’s Choice Awards Reaction

Patch and Aaron hop on the mic directly after the Oscars for a conversation about the show and all its winners. They also announce the 2018 Feeler’s Choice Award winners. Don’t miss this fun conversation.

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Music: Going Higher – Bensound.com

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2018 Oscar Predictions

Ready for the Oscars this Sunday? The Feelin’ Film team — Aaron White, Patrick Hicks, Steve Clifton, Don Shanahan, and Jeremy Calcara — are here to tell you just who will be taking home those glorious golden statues. Below you will find five definitive lists of who will win at the 2018 Oscars, followed by a brief explanation by one team member of why they made that choice. We believe that these are all objectively correct predictions. Do with that as you will, and if you’re in an Oscar pool this year – GOOD LUCK!


 

Best Picture


Aaron – GET OUT

Patrick – THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

Steve – THE SHAPE OF WATER

Don – GET OUT

Jeremy – THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

 

Best Actor

 

Aaron – Gary Oldman

Patrick – Gary Oldman

Steve – Gary Oldman

Don – Gary Oldman

Jeremy – Gary Oldman

 

Best Actress

 

Aaron – Frances McDormand

Patrick – Frances McDormand

Steve – Frances McDormand

Don – Frances McDormand

Jeremy – Sally Hawkins

 

Best Supporting Actor

 

Aaron – Sam Rockwell

Patrick – Sam Rockwell

Steve – Sam Rockwell

Don – Sam Rockwell

Jeremy – Willem Dafoe

 

Best Supporting Actress

 

Aaron – Allison Janney

Patrick – Allison Janney

Steve – Allison Janney

Don – Allison Janney

Jeremy – Allison Janney

 

Best Director

 

Aaron – Guillermo del Toro

Patrick – Guillermo del Toro

Steve – Guillermo del Toro

Don – Guillermo del Toro

Jeremy – Guillermo del Toro

 

Best Adapted Screenplay

 

Aaron – CALL ME BY YOUR NAME

Patrick – CALL ME BY YOUR NAME

Steve – CALL ME BY YOUR NAME

Don – CALL ME BY YOUR NAME

Jeremy -CALL ME BY YOUR NAME

 

Best Original Screenplay

 

Aaron – GET OUT

Patrick – GET OUT

Steve – GET OUT

Don – GET OUT

Jeremy – GET OUT

 

Best Cinematography

 

Aaron – BLADE RUNNER 2049

Patrick – BLADE RUNNER 2049

Steve – BLADE RUNNER 2049

Don – BLADE RUNNER 2049

Jeremy – BLADE RUNNER 2049

 

Best Costume Design

 

Aaron – PHANTOM THREAD

Patrick – PHANTOM THREAD

Steve – PHANTOM THREAD

Don – PHANTOM THREAD

Jeremy – PHANTOM THREAD

 

Best Film Editing

 

Aaron – I, TONYA

Patrick – DUNKIRK

Steve – DUNKIRK

Don – BABY DRIVER

Jeremy – BABY DRIVER

 

Best Makeup and Hairstyling

 

Aaron – DARKEST HOUR

Patrick – DARKEST HOUR

Steve – DARKEST HOUR

Don – DARKEST HOUR

Jeremy – DARKEST HOUR

 

Best Original Score

 

Aaron – THE SHAPE OF WATER

Patrick – THE SHAPE OF WATER

Steve – THE SHAPE OF WATER

Don – THE SHAPE OF WATER

Jeremy – PHANTOM THREAD

 

Best Original Song

 

Aaron – “This is Me” from THE GREATEST SHOWMAN

Patrick – “This is Me” from THE GREATEST SHOWMAN

Steve – “This is Me” from THE GREATEST SHOWMAN

Don – “Remember Me” from COCO

Jeremy – “Remember Me” from COCO

 

Best Production Design

 

Aaron – BLADE RUNNER 2049

Patrick – THE SHAPE OF WATER

Steve – THE SHAPE OF WATER

Don – THE SHAPE OF WATER

Jeremy -THE SHAPE OF WATER

 

Best Sound Editing

 

Aaron – DUNKIRK

Patrick – DUNKIRK

Steve – BABY DRIVER

Don – DUNKIRK

Jeremy – BABY DRIVER

 

Best Sound Mixing

 

Aaron – DUNKIRK

Patrick – DUNKIRK

Steve – DUNKIRK

Don – DUNKIRK

Jeremy – DUNKIRK

 

Best Visual Effects

 

Aaron – WAR FOR THE PLANET OF THE APES

Patrick – WAR FOR THE PLANET OF THE APES

Steve – WAR FOR THE PLANET OF THE APES

Don – WAR FOR THE PLANET OF THE APES

Jeremy – WAR FOR THE PLANET OF THE APES

 

Best Animated Film

 

Aaron – COCO

Patrick – COCO

Steve – COCO

Don – COCO

Jeremy – COCO

 

Best Foreign Language Film

 

Aaron – A FANTASTIC WOMAN

Patrick – A FANTASTIC WOMAN

Steve – A FANTASTIC WOMAN

Don – A FANTASTIC WOMAN

Jeremy – THE SQUARE

 

Best Documentary Feature

 

Aaron – FACES PLACES

Patrick – FACES PLACES

Steve – ICARUS

Don – FACES PLACES

Jeremy – FACES PLACES

 

Best Documentary Short

 

Aaron – HEROIN(E)

Patrick – EDITH + EDDIE

Steve – EDITH + EDDIE

Don – EDITH + EDDIE

Jeremy – HEROIN(E)

 

Best Animated Short

 

Aaron – NEGATIVE SPACE

Patrick – DEAR BASKETBALL

Steve – DEAR BASKETBALL

Don – DEAR BASKETBALL

Jeremy – DEAR BASKETBALL

 

Best Live-Action Short

 

Aaron – DEKALB ELEMENTARY

Patrick – DEKALB ELEMENTARY

Steve – THE SILENT CHILD

Don – DEKALB ELEMENTARY

Jeremy – WATU WOTE: ALL OF US


BEST PICTURE: How did I get this draw? LADY BIRD was my favorite film of 2017, but it’s too benign for Oscar voters. GET OUT would be a statement win, especially in our current social climate, but I just don’t think older voters are going to push a horror film to the top. For me that leaves THREE BILLBOARDS OUTSIDE EBBING, MISSOURI and THE SHAPE OF WATER. The preferential ballot and lack of a directing nom for Martin McDonough indicate to me that THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is vulnerable, even though it keeps hanging around and over performing everywhere. I’m counting on enough voters dropping it low on their ballots, where I think THE SHAPE OF WATER will garner enough top votes to push it over the top. Ask me again tomorrow and I’ll probably tell you something different. – Steve

BEST ACTOR: As much of a lock as there has ever been, Gary Oldman’s transformative performance as Winston Churchill in the Best Picture-nominated DARKEST HOUR is sure to be recognized for its greatness. This performance feels like total immersion into the character with his veins seemingly about to pop at any time, and his stutters and pauses perfectly capturing the enormous pressure weighing Churchill down. Oldman has already won almost every major award for Best Actor thus far and will rightfully take home the Oscar, too. – Aaron

BEST ACTRESS: If you were to add up all the lead-up awards (as I have), this would be a neck-and-neck contest between Sally Hawkins of THE SHAPE OF WATER and Frances McDormand for THREE BILLBOARDS OUTSIDE EBBING, MISSOURI. The way I see things shaking out, this might be the one Oscar Martin McDonagh’s film wins all night and it’s probably the right one in this Year of Women. Slot McDormand over Hawkins in a race closer than we’ll ever see. – Don

BEST SUPPORTING ACTOR: Willem Dafoe’s Bobby Hicks was the glue that held life at the Magic Castle Inn and Suites together. His presence there not only kept the place in business, but his character brought a paternal presence to it’s residence. I’m glad he got a nod for the nomination, but it’s hard to beat out a film with two strong supporting leads. Sam Rockwell edges out Woody Harrelson for the win. – Patrick

BEST SUPPORTING ACTRESS: I would argue that this is Oscar’s toughest category this year. All five women nominated gave performances that commanded the screen every time they appeared. Given what we’ve seen in awards season thus far, all signs seem to point to Allison Janney winning her first Academy Award for her portrayal of Tonya Harding’s mother LaVona Fay Golden in Craig Gillespie’s I, TONYA. Janney has long been one of Hollywood’s most reliable actresses and she absolutely becomes Golden in a darkly funny role as the unrelentingly awful mom (and lover of tropical winged creatures). If there’s any justice in the world, she’ll agree to share the trophy with that bird. – Jeremy

BEST DIRECTOR: In a very deep category, it’s wonderful to see Hispanic (Guillermo del Toro for THE SHAPE OF WATER), black (Jordan Peele for GET OUT), and female (Greta Gerwig for LADY BIRD) diversity.  That’s promising for the state of film, but there can only be one winner and it’s going to be Guillermo del Toro.  Since January, him winning the Golden Globe, the BAFTA, and, most importantly, the DGA Award from his Directors Guild peers seals his Oscar victory. – Don

BEST ADAPTED SCREENPLAY: Earlier in this awards season, THE DISASTER ARTIST was running away and hiding with this category as the preordained choice of cult and niche cinephile fans. As soon as that Hollywood in-joke of a film hit general audiences, it died a death about as quick as the film it’s based on. Surging ahead instead is CALL ME BY YOUR NAME, adapted by veteran screenwriter James Ivory, who has never won the Big One after years of Merchant-Ivory awards bait offerings. This is the place for voters to throw this topical LGBT message film a bone and to cap a respected career for Ivory. – Don

BEST ORIGINAL SCREENPLAY: This was once wide open, but it seems to have settled into a two horse race between GET OUT and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI. As much as I really want to see Greta Gerwig on that Oscar stage, I fear support for LADY BORD is starting to wane, and it could get shut out completely. I really believe Jordan Peele and GET OUT are going to squeak by with this one. THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is pesky, but with no persons of color considered a threat for an acting win, you can bet the Academy will want to honor their commitment to squashing #OscarsSoWhite in some fashion, and Peele is very deserving here.  – Steve

BEST CINEMATOGRAPHY: Roger Deakins has been nominated for Best Cinematography 14 times and somehow, inexplicably, he has gone home with empty hands 13 of them so far. This has to be the year the Academy finally recognizes his staggering greatness, right? BLADE RUNNER 2049 was sadly skimmed over in major categories, but my thinking is that the critically acclaimed film will still win some technical awards, including this one. The one contender that has performed well on the award circuit and could yet again spoil Roger’s party is most likely Dan Laustsen for his gorgeous work in THE SHAPE OF WATER. But that film will win plenty of other awards. This one goes to Deakins. – Aaron

BEST COSTUME DESIGN: Um, really? Was there ever any doubt as to what film was going to win Best Costume Design. The movie is called PHANTOM THREAD for goodness sake. Besides that, the stunning costumes add to the overall tone of the entire film and make it the most worthy recipient of the Oscar. – Patrick

BEST FILM EDITING: Last year, Patrick defined Film Editing this way: “Pacing would be the operative word to describe the quality of a well-edited film. Did it flow? Did each scene lead well into the next? Were there abrupt changes to the tone of the film as a result of the way it was pieced together?” Well, this year there are a few films that likely good take home the award, chief among them being DUNKIRK, BABY DRIVER, and I, TONYA. I wouldn’t be surprised if any of these win, but the award circuit buzz seems to favor I, TONYA and this feels like a year when we’re going to see several films taking home multiple statues. – Aaron

BEST MAKEUP/HAIRSTYLING: As the bald man of the group, it is my absolute honor to judge and handicap this category. I know my sugar-honey-iced-tea. For me, the fact this is the one remaining Oscar category to still skate by on three chincy nominees instead of a full field of five is ridiculous. Surely two more films could have been honored to compete. Of the three, this is duel for “Best Lead Character Transformation” more than anything else, and Gary Oldman’s disappearance into Sir Winston Churchill for DARKEST HOUR will win over making Jacob Tremblay as ugly as he is cute in WONDER. – Don

BEST ORIGINAL SCORE: 2017 seemed to be the year of what has come to be known as modern minimalist music in film. BLADE RUNNER 2049 and DUNKIRK, scored by Hans Zimmer, really dive deep into this style. Desplat’s THE SHAPE OF WATER, however, takes a different approach, and really becomes another character in the film. Beautiful and haunting, and a lock to take home the award. – Patrick

BEST ORIGINAL SONG: Sigh, the best song never seems to win the Oscar, and the frontrunner all along has been “Remember Me”, from COCO. It’s nice and sentimental, but it isn’t particularly memorable outside the confines of the film. I’m expecting the Academy voters to finally honor the true best song and go with “This is Me”, from THE GREATEST SHOWMAN. This song has become a global anthem of inspiration, and has made a star out of powerhouse singer, Keala Settle. – Steve

BEST PRODUCTION DESIGN: This award could easily go to THE SHAPE OF WATER, but like with Best Cinematography this seems like the proper place to recognize BLADE RUNNER 2049 and in a year with so many worthy nominees of high quality, this one goes to the futuristic world over the fairy tale one.  – Aaron

BEST SOUND EDITING: It might seem a little odd that a film that was repeatedly criticized in its initial release for having dialogue that was hard to hear is now the odds on favorite to win the award for best sound editing. But upon further examination audiences realized that they were hearing exactly what Gregg Landaker, Gary Rizzo and Mark Weingarten wanted them to hear in Christopher Nolan’s DUNKIRK. Nolan’s completely immersive film makes the viewer feel like they’re on the beach at Dunkirk largely because of the deft hand with which this crew recreates the sounds of war. BABY DRIVER may sneak up and take this one, but my money is on DUNKIRK. – Jeremy

BEST SOUND MIXING: Every year we talk about how the difference in Sound Editing and Mixing is so small that usually the same film wins both. While I do think BABY DRIVER’s unique style could change things up this year by winning Sound Editing, ultimately I believe both awards will go to the relentlessly visceral sound of DUNKIRK. Honestly, in any other year DUNKIRK would be a slam dunk, but BABY DRIVER does give me pause due to how integral sound is to it as well.  – Aaron

BEST VISUAL EFFECTS: I’m not going to apologize for supporting what I think is the runaway pick in this category. That’s not to say the other four nominees aren’t worthy. They clearly are. But when you can get me to cry from watching a digital ape act on screen, you’re doing something right. I also believe this will be Andy Serkis’ indirect Oscar for his performance as Caesar because both need each other to make this success story what it is.  – Patrick

BEST ANIMATED FEATURE FILM: Pixar typically has a stranglehold on this category, and this year is no different. The first of their films set south of the border is a celebration of family and following your dreams, with all of the classic Pixar bells and whistles thrown in. They have no competition here. COCO it is. – Steve

BEST FOREIGN LANGUAGE FILM: There was some trading going on among Feelin’ Film contributors regarding who would be given the opportunity to highlight this category and after a long fight that ended in Patch struggling but ultimately succeeding in yelling “UNCLE” through his tears, I won the opportunity. I’m picking Ruben Ostlund’s THE SQUARE here. Why? Because I saw the trailer and I like Elizabeth Moss. The Swedish film, which is about an art installation at the X-Royal Art Museum in Stockholm, has received rave reviews and won the Palme d’Or at Cannes. It’s going to win. – Jeremy

BEST DOCUMENTARY (FEATURE): The odds on favorite to take away this year’s statue for best documentary feature is Agnes Varda’s FACE PLACS. The doc, that follows the famed director and the artist known only as JR while they travel the countryside of France and take large photos of the people they find there, has stolen hearts of viewers everywhere it has played. This will be Varda’s second Oscar in less than a year after having been given the Academy Honorary Award back in November. – Jeremy

BEST DOCUMENTARY SHORT SUBJECT: The dreaded “short” categories will make or break your Oscar ballot. This year is a toss up, but I’m leaning toward EDITH + EDDIE, a story about physical abuse of the elderly, sure to tug at a few heartstrings and anger a few people along the way. – Steve

BEST ANIMATED SHORT: This year’s nominees were all strong contenders, and my favorite isn’t even the one I think SHOULD win. GARDEN PARTY stands above as a visually stunning display of animation on top of a left field plot (if you could call it that) with an ending that is the perfect exclamation point to its tale. But I think my favorite of the five will take home the statue this year. DEAR BASKETBALL is a fantastic balance of words, visuals and music, wrapped up in a visceral experience that isn’t forgettable, at least not to me. (This may end up being first time an NBA player will have won an Oscar which will be crazy in and of itself). – Patrick

BEST LIVE-ACTION SHORT: As a nice get with press credentials, I’ve actually been lucky enough to see all five of these obscure films. I don’t have to throw a dartboard and guess like most everyone else. In this unfortunate era of mass shootings, the absolutely harrowing experience that is DEKALB ELEMENTARY reenacting at true story of a school secretary talking down a would-be school gunman is, far and away, the best of this bunch. – Don

Agree with our picks? Disagree? Want to share your own? Leave us some feedback. We’d love to discuss them with you. Thanks for reading!