2020 Oscar Locks

If you’ve spent any amount of time in Feelin’ Film circles, whether it be the Facebook group or our active Twitter community, you’ve likely heard the following phrase: Jeremy is always right. Listen, I don’t know who came up with it and it’s really flattering, but for a guy like myself who just oozes humility, it’s a bit embarrassing. It also happens to be completely true. It’s a pretty heavy cross to carry that would crush most men, but it’s one that I am glad to bear. As everyone’s favorite Uncle Ben said, with great power comes great responsibility. With this in mind, given that it’s Oscar season and knowing that some people like to make Oscar season a little more interesting, I thought I would give back to you, the normies, and provide you with the stone-cold locks to win the major Academy Awards in 2020. So without further ado, for the second year in a row, here are Jeremy’s Oscar locks! You’re welcome.


Best Supporting Actor

Anthony Hopkins, The Two Popes; Brad Pitt, Once Upon A Time… In Hollywood; Joe Pesci, The Irishman; Al Pacino, The Irishman; Tom Hanks, A Beautiful Day In The Neighborhood

Should’ve been nominated: Christian Bale, Ford vs. Ferrari

I want to win: Full disclosure, I haven’t seen The Two Popes or A Beautiful Day In The Neighborhood so I cannot speak to the work done by Hopkins or Hanks, but I absolutely adored all of the work that the other nominees did this year. The Irishman was stellar across the board thanks in part to Al Pacino’s stunning performance as Jimmy Hoffa and Joe Pesci’s wonderfully understated Russell Buffalino. But Brad Pitt gave my favorite performance in what was (spoilers for later) my favorite movie of the year and so he is my personal pick to go home with the statue.

Will win: Ultimately it looks like this is a two-horse race between Pesci and Pitt that will be won by the man who should be People’s Sexiest Man Alive until he dies, Brad Pitt, as Pesci loses a few votes to Al Pacino from those wanting to reward The Irishman.


Supporting Actress

Laura Dern, Marriage Story; Margot Robbie, Bombshell; Scarlett Johansson, Jojo Rabbit; Florence Pugh, Little Women; Kathy Bates, Richard Jewell

Should’ve been nominated: Jennifer Lopez, Hustlers; Zhao Shuzhen, The Farewell

I want to win: In my opinion, and I know this is controversial, Margot Robbie gave the best performance of those nominated this year. Her portrayal of the fictional amalgamation of real victims, Kayla Popsil, was absolutely dynamite and made me want to go punch everyone who has ever responded to a woman who has alleged sexual abuse with anything other than love and compassion straight in the throat.

Will win: Laura Dern. The odds are completely in her favor. And she was great in Marriage Story. Of course, she was. She’s Laura Effing Dern. But she was better in Little Women.


Best Actor

Jonathan Pryce, The Two Popes; Adam Driver, Marriage Story; Antonio Banderas, Pain and Glory; Joaquin Phoenix, Joker; Leonardo DiCaprio, Once Upon A Time… In Hollywood

Should’ve been nominated: Adam Sandler, Uncut Gems; Eddie Murphy, Dolemite Is My Name

I want to win: If you would’ve told my 17-year-old self in December of 1997 as I watched the girl I was in love with look up at the screen and drool all over Jack Dawson that I’d ever be on Team DiCaprio, I’d have told you to pound sand. But here we are. 

Will win: Look, Joaquin Phoenix is going to go home with the statuette. Whether you liked Todd Phillips’ Joker or not, there’s no denying that Phoenix gave an absolute powerhouse performance as the Clown Prince of Crime. Plus he lost weight, and you know the Academy can’t resist an actor who went on a diet for a role.


Best Actress

Charlize Theron, Bombshell; Renee Zellweger, Judy; Cynthia Erivo, Harriet; Scarlett Johansson, Marriage Story; Saoirse Ronan, Little Women

Should’ve been nominated: Lupita Nyong’o, Us; Awkwafina, The Farewell

I want to win: I’m going to be honest, until I read this list, I thought Megyn Kelly played herself in Bombshell, so I’m going to go with Charlize Theron. I do reserve the right to change this to Cynthia Erivo after I watch Harriet with my daughter tonight. 

Will win: All signs are pointing to Renee Zellweger at this point. By all accounts, it’s the one really bright spot in what was otherwise a bland, formulaic biopic.


Best Director

Quentin Tarantino, Once Upon A Time… In Hollywood; Todd Phillips, Joker; Bong Joon-ho, Parasite; Martin Scorcese, The Irishman; Sam Mendes, 1917

Should’ve been nominated: Greta Gerwig, Little Women; James Mangold, Ford vs. Ferrari

I want to win: Once Upon A Time… In Hollywood is my favorite movie that I saw in 2020. Parasite is the best movie that I saw in 2020. A movie that is equal parts family drama, horror, dark comedy, and social commentary should collapse under the weight of its own ambition, but it’s never less than perfect. I’m not into foreign film because I don’t like to read, but I’ll never miss another Joon-ho project. 

Will win: At this point, I think it’s a toss-up between Joon-ho and Mendes and I wouldn’t be upset with either of them. I’ve already praised Parasite and 1917 is an absolute masterwork in warfare storytelling. I think Joon-ho walks away with it.


Best Picture

1917; Parasite; Once Upon A Time… In Hollywood; Joker; The Irishman; Jojo Rabbit; Little Women; Marriage Story; Ford vs. Ferrari

Should’ve been nominated: Uncut Gems; Avengers: Endgame

I want to win: Here’s the thing, I really liked all nine of these movies. All of them were in my Top 25 of 2020 and all but Marriage Story were in my Top 15. But my favorite was Once Upon A Time… In Hollywood. Quentin Tarantino’s patience in telling the story along with his always great writing and some dynamic performances make it a movie I’ll revisit over and over and I’d love to see it win.

Probably will win: This is a tough one. 1917 has a lot of momentum, but so does Parasite. And we all know that the Academy loves a story about its golden age, so I think Once Upon A Time… In Hollywood has a great shot as well. Currently, the odds are on 1917 bit it’s a pretty close race. I’m going to go out on a limb and guess that Once Upon A Time… In Hollywood takes home the industry’s most coveted prize on Sunday, February 9th. 

There you have it. Those are my picks. You can trust me or you can look at the odds. But remember, I’m always right.


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.

 

Episode 207: Little Women

All adaptations are not created equal and this week we discuss one of the best, Greta Gerwig’s new take on Louisa May Alcott’s book. With a modern flair, a meta twist, and the best ensemble cast of the year, this version of Little Women warmed our hearts and won us over.

Little Women Review – 0:01:01

The Connecting Point – 1:21:02

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MOVIE REVIEW: Little Women

Greta Gerwig’s “Little Women” follows the lives of four sisters from the blooming time of teenage years into the world of adulthood. Taking place during a tumultuous period of the Civil War, Jo (Saoirse Ronan), Meg (Emma Watson), Amy (Florence Pugh), and Beth (Eliza Scanlen) have their own distinct ways of viewing a world in which women’s opportunities for independence are scarcely low. The only paths to prominence were being the wife of a privileged husband, which left women in the predicament of being “property” with no sense of individual ownership, or being rich. Each sister has a sense of free will and distinct ambitions to go far beyond this limited vestige by focusing on their pursuit of the arts. Through seamless transitions between the past and present, these bonded sisters traverse romance, tragedy, family, and self-exploration.

Featuring one of the best ensembles of the year, the cast is a who’s who of gifted young actors/actresses and established veterans. Ronan, Watson, and Pugh are impeccable with a delightful charm and sit a level above the rest of the cast. Ronan is full of strong will and combustible energy that pulls the viewer into her inner wish to shatter the mold as an aspiring novelist. There is not one scene where she doesn’t steal the show. Pugh is a stellar sidekick, continuing her hot streak in 2019 that has seen her star in roles across several different genres. Watson plays her part with a silent elegance and really hits home in a couple of dramatic moments. Timothée Chalamet, Meryl Streep, and Laura Dern all hold up their end of the supporting bargain with terrific turns representing relevant figures in the maturation of these sisters.

A certain amount of heartwarming compassion and charm is present in every little fabric of this adaption. Certain scenes will make you smile because of the easily discernible connection the sisters share or the little moments of moral humanity where characters are full of life and charity. This world is soaked with the beloved energy that the novel has carried for over 150 years; a rare case in which the film soars to the same heights of its literary companion. For a 759 page novel, the film’s pacing and actor mannerisms makesit easy to keep up with all of the important details, the switch between flashbacks and present time are handled with the utmost care and feel seamless. Jess Gonchor’s work on the production design is the equivalent of authenticity done right. House decor, horse-drawn carriages, fashion of the era, and street signs are carbon copies of what readers have imagined for decades as the words bounce off the page.

Gerwig handles writing and direction duties just as she did with her last great film, “Lady Bird”, and shows a greater sense of improvement and ease. It can be an audacious task bringing a well-received literary classic to the big screen, but Gerwig succeeds immensely. “Little Women” is an entertaining homage that carries a modern feel while keeping the personality of a timeless period piece. This is a film that speaks to all women in the celebration of autonomy and uniqueness while delivering laughs, developed character arcs, remarkable cinematography, and a winner’s circle of award-worthy performances. I’m still surprised with how much I enjoyed my time at the theater.

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Caless Davis is a Seattle-based film critic and contributor to the Feelin’ Film Podcast. He loves any discussion of film and meeting new people to engage in film discussions on any subject. You can follow him on Twitter and Instagram.

Episode 181: The Grand Budapest Hotel

This week’s second film in our 2019 Director Battle Month takes us on a fantastical adventure through the Republic of Zubrowka. We take some time out to marvel at the artistic genius of Wes Anderson before digging into the themes of the film that stem from the wonderful relationship between its two protagonists. Like the film itself, we hope this episode will largely make you smile, as our conversation did for us.

The Grand Budapest Hotel Review – 0:06:39

Connecting Point – 1:07:07

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Episode 165: Lady Bird

“What’s in a name?” One of our favorite topics to discuss is the exploration of character identity and this film offers us plenty of opportunity to do so. We celebrate Mother’s Day with one of the best coming-of-age films of the decade. It is a joy to talk through the relationships in Lady Bird’s life and the beautiful love letter to Sacramento that first-time Director Greta Gerwig brings to the screen.

Lady Bird Review – 0:03:26

The Connecting Point – 1:09:19


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MOVIE REVIEW: Mary Queen of Scots


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Lady Bird

In an understated though pivotal moment in the film, Sister Sarah Joan (Lois Smith) posits to Christine “Lady Bird” McPherson (Saoirse Ronan) that perhaps love and attention are one in the same. It’s a subtle theme that lives within Lady Bird, the feature directorial debut of writer/actress Greta Gerwig.

Culling bits and pieces from her own early aughts upbringing in Sacramento, California, Gerwig skillfully maneuvers her characters throughout the film in a way that feels uniquely honest and realistic. Every time you think the story is headed toward obvious conclusions, she pivots, landing in a place completely unexpected. Each character, even those with the slightest of screen time, feels fleshed out and genuine. Setting her main family dynamic against a struggling middle class existence, eschewing traditional white bread tropes and first world problems for an intimate look at familial relationships not backdropped by unrealistic lavishness, gives Lady Bird a refreshing tone. It’s not that Gerwig doesn’t explore social and economic class as a foil for her protagonists, but she doesn’t dwell there. Gerwig is far too accomplished a writer to waste time on exploitation of the haves versus the have-nots, instead allowing her characters to live and breathe within a realistic world, facing and conquering (or not) realistic problems, and landing in a place her audience can believe in and relate to.

The catalyst for all of this is of course Ronan as the titular “Lady Bird”, a moniker she gave to herself, presumably as part of her rebellion against her hyper-critical mother Marion (Laurie Metcalf). Lady Bird dreams of the day she can be free of “soul-sucking” Sacramento- the “midwest” of California as she labels it- and go live where the culture is. She is equal parts inconsiderate and selfish, but is impossible to dislike.  Attribute that to the talent of Ronan, who embodies Lady Bird with an inquisitive charm, albeit with an irascible discontent for her mom’s inability to rationally communicate with her.

Gerwig gives a masterclass on adolescent relationships. Whether Lady Bird is navigating the waters of first love- the boyish good looks and sweet naiveté of Danny (Lucas Hedges) and the rebellious, rock-n-roll charm of Kyle (Timothee Chalamet) each providing unique challenges- or best friendships, both real- a scene stealing Beanie Feldstein as the perky, insecure Julie… or fake- the high on social stature, “cool girl”, Jenna (Odeya Rush)- there is an innocent honesty to each. It would have been easy for Gerwig to assign a villainous arc to numerous characters, but she instead decides to keep these kids as authentic as possible. We will like or dislike certain characters, but there are no cruel intentions behind any of them, even when they make poor decisions.

But it’s the family dynamic that exists within the center of the film. Tracey Letts, as Lady Bird’s father Larry, gives such an emotionally understated performance. He is the anti-Marion, choosing to internalize his struggles. While Marion is outwardly critical, Larry hides his emotions behind computer solitaire and a bottle of anti-depressants. He would rather see his daughter happy than express his hurt at having to drop her off a block from school to hide her embarrassment over his uncool car. Lady Bird’s adopted brother, Miguel (Jordan Rodrigues) and his live in girlfriend, Shelly (Marielle Scott) don’t get a lot to do, but both serve the story at appropriate moments.

Of course none of this works without the tour de force performance by Metcalf. Marion is hopelessly passive aggressive toward Lady Bird, and their interactions more often than not devolve into an argumentative tit for tat ending in regretful insults and shattered feelings. These women are outright mean and spiteful to each other, but when Ronan and Metcalf are locked in, both performers are firing on all cylinders and will be hard for Academy voters to ignore when Oscar voting commences. Also credit Gerwig’s ultra tight script, which never incites false emotions with overly dramatic beats. The tensions between Lady Bird and Marion feel completely organic, and their frustrations with each other are a natural conclusion given their strong personalities.

At one point, Lady Bird asks of her mother, “Do you like me?” The exasperated Marion replies, “Of course I love you.” Lady Bird asks again…”But do you LIKE me?” Marion can only stare back at her daughter, unable to find the right words, just as she has throughout the film. Through all of the hurtful, contentious interactions between Lady Bird and her mom, there is clearly an underlying love of each other, even if neither of them can convey it properly. It exists within each concerned glare from Marion’s tired eyes. It exists when Lady Bird is quick to jump to her mother’s defense whenever an outsider speaks down on her. And it exists profoundly in the film’s final sequences, in moments of regret and self realization. It’s nice that Gerwig doesn’t completely wrap her ending up in a bow, instead opting for something ambiguously hopeful. Lady Bird is finding the best version of herself through trial and error; an opportunity in which her mother has worked many double shifts trying to provide her. And there is that final moment, when Lady Bird commits her confession ironically outside the church she has just exited, not contentiously and not spiteful.

This is as close to flawless as a coming of age film gets. It proves that love can hurt. Sometimes the very things we try so desperately to get away from are the very things we seek when we feel lost without them. Sometimes all that matters is what’s scribbled on some crumpled up note paper, or a pretty dress found on a thrift store clothes rack, in a dance with a true best friend, or a well timed Dave Matthews song.

Love exists if you are paying attention.

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