#fun fact i fucking love film analysis but never really post about it. may start.

[jeffwingxr]

have any of you seen The Child In Time (2017)? i have thoughts and would like to discuss. if not i probably will post an analysis here later for funsies so look out for that

[mappinglasirena]

Mapping La Sirena

Welcome one and all to the Mapping La Sirena Project!

If you are a fan of Star Trek: Picard and you would like to know more about the show’s most prominent ship, to check out floor plans and screencaps, and to discuss theories about the layout of this magnificent vessel, this is will be the place for you!

(Long, slightly rambly introduction and masterpost after the cut ;] )

Hi! My name is Lili and I’ve been a fan of pretty much all things Star Trek ever since I started watching Voyager at the tender age of 6. Besides the sometimes goofy, often brilliant storytelling and the wonderful characters, I always loved the worldbuilding of these shows - and in particularly the starships.

When Star Trek: Picard started airing a  few months ago, I was immediately drawn to the main ship, La Sirena. The mixture of the monumental physical set, judiciously used CGI, and sheer attention to detail made me fall madly in love with this little mermaid, and I wanted to find out every little thing about her that I possibly could. And since I imagine, I’m not the only one who feels this way, I decided to take you all on this journey with me!

What am I doing here?

As a reader and writer of fanfic, I know how helpful it can be to have a clear sense of the location your story is set in. When I realized that a good month after the final episode of ST:PIC season one aired, there still was no floor plan of La Sirena easily found on the web (easily = using my very limited googling-skills), I figured somebody had to sit down and do it. And apparently, that somebody was me. (May the gods help us all =D)

So, I sat myself down, and over the course of a few long days screencapped every single last scrap of Sirena that appears on the show. I now have a library of reference images and will post my progress as I work through them, trying to determine questions about the general layout of this ship, the details of its architecture and furnishings and all the questions that still remain. By the end of it, I am pretty confident that I will have a mostly accurate floorplan of the set that was used on the show (at least the parts of it that were shown to us thus far). We might even end up with the basis for a plan of the ship as it would exist in-universe (more on the movie set vs. “real place” issue later).

The following soon-to-be-links might give you an idea of what I plan to post over the next few months and I’ll keep adding links to this post as I go. So, without (even more) ado: Have fun exploring La Sirena!

Schematics & Floor Plans

A very crude first sketch

Official Set plan

We finally have an official set plan from the Ready Room!

A First Deeper Look at the Ready Room set plans

Centred Floor Plans from Set Me Up + cross section & more designs

Layout of the Captain’s Quarters

Shape and size

How large is La Sirena as seen on the show and is she larger on the inside?

Upper Deck

The Bridge

Where is the Holodeck?

Picard’s Study

Transporter Pad and Engine

The Trouble with Locating the Quarters/Conference Room

Crew Quarters

Captain’s Quarters

A closer Look at the windows

Conference room

The Mysterious Back End of the Ship

Crates, Tanks, Boxes, and Miscellania

Lower Deck

The Mess

Sickbay: Pt. 1: Size and Construction; Pt. 2: Furniture

So Many Nets

The Wall Problem, aka. Mysterious Nonexistent Corridors

Cargo Bay and other Speculative Spaces

Is there a dedicated cargo bay at the back of the ship?

Where are the rest of the crew quarters hidden?

Overall Design and Technological Aspects

A quick rundown of the Engine placement and history

Some Considerations

Tv Set vs . Starship

The set of La Sirena is just that, a tv set. When building a set, there are many constraints of time, budget, and practicality that will force the creatives to make decisions that will not always make sense when mapped onto a “real” starship. Take, for example, the fact that the Captain’s Quarters and the Conference Room were likely filmed in the same physical set, just redressed for the occasion.

Of course, there can always be Watsonian explanations for these kinds of incongruities and I’d love to hear people’s takes or read fics about them (after all, the entirety of La Sirena is apparently equipped with holoemitters, so I suppose technically, anything is possible).

But I am sticking with the Doylian “it’s a movie set” approach and will generally ignore these kinds of problems when trying to draft an in-universe-accurate floorplan of what we can know of the ship so far. I will be very diligent about pointing out whenever I handwave anything, though, so if you want to stick as closely to what we actually see on the whoe, you’ll know which parts of my analysis/headcanon to disregard ;)

Questions about “silly little details”

I have spend a ridiculous amount of time on this little project so far and in the course of it have gotten pretty familiar with a lot of aspects of the interior and exterior of this amazing starship. If you have any questions regarding details about what we can see of La Sirena on the show, please ask me and I will do my best to help! I absolutely love digging into the really nitpicky, tiny little scraps of information, and at this point, I can probably tell you straight away which scene might provide the info you’re looking for or whether there likely is no answer and you’ll have to get creative. So if you don’t feel like scrubbing through the entire 10 episodes of Picard to find out, say, the colour of the plates produced by Sirena’s replicators, please shoot me an ask, I’m always utterly delighted to help! (They’re white, btw.)

And just to make clear what I mean by “tiny little details”: in the course of writing some of my stories, I have collected answers to such important questions as

On which side of the desk does Rios have his chair? (Both)

How many cups are on the shelf next to the replicators? (4, even when one of them is currently in use)

Could a football roll under the railing on the upper deck and fall down into the mess hall anywhere but where the stairs go down? (No, there is a raised edge all around the rim that would catch it. Bouncing would work, though, since the space between the railing bars is large enough.)

Could I just say “Fuck it, I’ll just write it however, because it really doesn’t matter at all?” Yes. Would it be better for my sanity? Probably. Will I still keep trying to figure out as much about this crazy little ship as I possibly can at every turn? You betcha! So, no question is too silly, please ask away!!

A Quick Thought on Fanfic and “Accuracy”

This whole project started because whenever I write fanfic or make up stories set on La Sirena, my brain keeps insisting that we need to know which side of the mess hall the replicators are on! We need to know where exactly the holodeck is located and whether a football could fall to the lower deck through the railing. I would never hold anyone to these standards of “accuracy” - in fact I frequently don’t hold myself to these standards. Fic is for creative expression, so if in your imagination, La Sirena is twice the size of what we see in the show and has a ton of additional rooms and features, I would love to read that story! I want to create a resource for anyone looking for Sirena references to get inspired, not to point out inconsistencies or canon-divergence in lovingly created fanworks. I hope it comes across that way =)

[aion-rsa]

As Spider-Man Rumors Persist, Andrew Garfield Reveals a Downside to its Fame

https://ift.tt/3ke7kIP

Andrew Garfield’s personal life can currently be described as events that occur when he’s not publicly denying rumors of involvement with Spider-Man: No Way Home. The actor, who broke big from relative obscurity with his two-film run in director Marc Webb’s abruptly-ended duo of The Amazing Spider-Man films, has been bombarded by questions—in some cases accusations—that he, along with preceding portrayer Tobey Maguire, will appear in Marvel’s multiverse-threaded threequel alongside current star Tom Holland. While he is undaunted in his denials, the actor is also reflecting on the path that playing Spidey has set for him.

Garfield’s Spider-Man turn will probably always be overshadowed by its status as an ignominiously forgotten casualty of industry events. Indeed, the grandiose franchise aspirations of the 2012-2014 Sony-licensed Amazing Spider-Man films were unceremoniously abandoned for a historic deal with Marvel Studios to bring about Tom Holland’s shiny new version of the Wall-Crawler. This was especially shocking for those who recall the pure, palpable passion Garfield displayed for the role, both on and offscreen. It also yielded him an (eventually-ended) IRL relationship with onscreen co-star Emma Stone, who played Spidey’s inevitably doomed love interest, Gwen Stacy. Yet, notwithstanding the nature of its end, his recent comments to Total Film paint an intriguing picture of his (maybe not so bygone) Wall-Crawler days.

“I don’t know about reincarnation, and if there is one opportunity for me to be alive, and I get offered the opportunity to do a prolonged dress-up as my favorite character of all time, there’s no way I can say no,” says Garfield. “And, yeah, the only thing that I knew was going to be a challenge was the fame aspect, and I knew that a lot of good would come with that as well. I knew it was going to provide a gilded prison… As a creative person, I knew I would have to balance it out with theatre and with waiting for the right movies to come along that would make sure that I stayed an actor, rather than this idea of a movie star. I love movie stars. I love The Rock. I fucking love Tom Cruise. This is in no way a detriment to them.”

For Garfield, the opportunity to play Spider-Man for a major release was too powerful, despite being a stage-driven actor-type who seems to prioritize the craft over the commercial. In fact, so great was the opportunity that it superseded any apprehension he may have had about the inevitability of instantly taking on the kind of merchandise-friendly fame he seemingly eschews. Yet, his apprehension was shared by a significant portion of the general public, since the 2010-reported initial news of the movie project that would become 2012’s The Amazing Spider-Man was widely perceived as Sony’s cynical attempt to spin an unnecessary reboot, especially since the Maguire-headlined previous iteration’s last outing, 2007’s Spider-Man 3, was still relatively fresh, and rumors of a fourth film remained ubiquitous and topically diverse.

However, the early days of Garfield’s sentence in his proverbial gilded prison was nevertheless permeating with optimism. Details were slowly starting to be divulged about an updated, more serious version of Spider-Man—in contrast to the often-outlandish tone of Raimi’s films—emerging to match the significantly raised level of comic book movie pathos of the money-printing MCU movies. Moreover, Garfield provided a monumental moment at 2011’s Comic-Con, in which he appeared in a fan Q&A during the film’s promotional panel disguised in a cheap, pajama-level Spidey costume, at which point he ripped off the saggy, eye-holes-poked mask to reveal that he was the genuine article for the then-upcoming film, creating a raucous wave amongst attendees and those watching later on YouTube. Indeed, Garfield was anxious to prove himself, and, as he now reveals, his preparation for this layered, loftier, conspiracy-unravelling iteration of Spidey involved a significant amount of research.

“My intention… I started studying myth, which is the basis of comic-book films and comic books generally,” he explains. “And you go, ‘Oh, right. The responsibility of modern filmmakers is the same as the person telling the story around the campfire.’ Stories are the things that remind us of who we are as human beings, and we actually have an opportunity to provide deep wisdom and medicine and guidance. So, for me, it was like: How do I help to infuse this with as much soul and universality as possible, knowing that millions of young people are going to be watching? So, it’s not an exercise in selling t-shirts and mugs and Happy Meals, but it’s giving young people the opportunity to feel their own extraordinariness, and their own ordinariness, and seeing someone who’s just like them struggle with those two things living inside of themselves. So, for me, it was about that. And then, you know, there’s everyone else that’s serving their own masters.”

Read more

Movies

Spider-Man: No Way Home Trailer Breakdown and Analysis

By Mike Cecchini

TV

Spider-Man: No Way Home – Breaking Down The Sinister Six Villains

By Joseph Baxter

The tchotchke-churning franchise prospects were initially validated when The Amazing Spider-Man went on to gross $757.9 million worldwide in 2012, creating an upsurge of studio plans for not only the obvious sequel, but an Avengers­-esque team-centric megamovie focused on Spidey’s coterie of archnemeses, the Sinister Six; plans that, even now, purportedly remain in place. Indeed, Garfield, in a recent interview with Collider, intriguingly shed some light on the state of things at Sony regarding that never-realized project, which had tapped a genre veteran in writer/director Drew Goddard. “I don’t know how close it got, but I definitely had a few meetings, and it was really exciting,” recalls Garfield. “I’ve got to say, because I love Drew so much, and I love Cabin in the Woods, and the other stuff that he’s made. We just got on like a house on fire. I loved his vision, he’s so unique and odd and off-kilter and unconventional in his creative choices. So that was definitely a fun couple of months, but life.”  

Pertinently, the professional drawbacks Garfield divulges about his otherwise-fulfilling Spider-Man cinematic sojourn might be another form of denial amidst the wave of rumors that currently consume his days regarding Sony’s MCU-adherent Spider-Man: No Way Home. Said rumors snowballed significantly upon the long-awaited release of the film’s trailer, which confirmed the long-rumored notion of its plot centering on Multiverse concepts wrought by the magic of Benedict Cumberbatch’s Doctor Strange. In fact, Garfield found himself in denial mode earlier this week during a remote appearance on The Tonight Show with Jimmy Fallon, where the host confronted him over recently-viral pictures of what is believed to be him on the film’s set. Perhaps at a point in which he’s used to his denials being met with instant incredulity, Garfield takes a light-hearted tone with his answer—in contrast to the exasperated tone of previous denials—stating, “I heard about it. And I did see it. And it’s a Photoshop. Look, if they want to give me a call at this late, late stage in the game, you know, I’m just sitting here in my tracksuit.”

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Regardless, it will be interesting to see if Andrew Garfield’s internal struggles over commercialism as an artiste will ultimately lean a certain way for a nostalgic big screen trip as his angstier, skateboarding version of Peter Parker/Spider-Man in the live-action manifestation of the Spider-Verse for Spider-Man: No Way Home, which is scheduled to hit theaters on Dec. 17. In the meantime, fans can witness his chameleonic transformation (that, in no way, was a reference to villain the Chameleon,) as disgraced televangelist Jim Bakker, in The Eyes of Tammy Faye, opposite Jessica Chastain’s equally uncanny title role.

The post As Spider-Man Rumors Persist, Andrew Garfield Reveals a Downside to its Fame appeared first on Den of Geek.

from Den of Geek https://ift.tt/3kf0l2a

[littleredchucks]

@agarlandoffreshlycuttears another one for you! A bit of an analysis from a slice of a Dan and Jones fic. Thank you.

“Do you miss it?” he asked.

“What? Tits?” Jones said, spreading his fingers to peak through at Dan like a kid watching a horror film. “Nah. I’ve got yours remember. Why? You miss being with a woman? Need me to shave my legs?”

(I like to imagine that Jones really appreciates Dan’s tits and has shaved his legs in the past. Jones is grumpy with Dan in this fic but he’s still got that cheeky edge to him. Same with the image of him peaking through his fingers, there’s something about Jones as I imagine him that has that Noelish childlikeness.

“No,” Dan frowned. “I mean, do you miss being with someone fit and beautiful and...”

“Do you?”

( I actually find that I tend to write Dan/Jones dialogue with less description around it, like I want their words to flow faster. Also, I feel like Dan really does not think highly of himself and gets suspicious of the fact that Jones sticks around and likes him, because he’s not used to things going right. I also like playing with the idea that maybe Jones, for all his attention seeking noise and clothes -and general Noelness- might not think of himself as fit and beautiful, but thinks that Dan is.

Jones was still looking at him through his fingers but it was obvious (even to Dan) that he was upset and scared of what the answer might be.

“I am with the most beautiful person on the planet,” he told Jones sincerely. “You’re the one who settled.”

(Dan recognising his own obliviousness is something I really like and same as with a lot of my fics I’ve forced the characters to actually talk to each other. And I enjoy the image, and sound, of Dan saying that. The eyes, the voice, oh yes please thank you. Yet Dan can even make a confession of deepest affection self-deprecating.

“Dan,” Jones said softly, bringing his hands away from his face. “I haven’t settled.”

(Heavy handed imagery= Jones revealing his face to reveal his emotions and love. GAh. sorry.

Dan’s heart hit his throat with such force that he thought he might vomit and he looked away before he had to see pity in Jones’s eyes.

“So, we’re not...”

(Gah, Dan always seeing the worst. Jones gives him his heart and Dan misunderstands. Always. I think it’s a rule. Dan doesn’t like to believe that something will go right. It’s one of the reasons I love to write him. Gotta force the hope and happy in to the man any way you can!

“No!” Jones exclaimed. “I mean, no. No, I mean, yes! We are! We definitely are! Shit. What I mean is... Dan I fell for you the first time you sat next to me in Creative Writing 101 and your knee bumped my knee and you didn’t apologise or jerk away from me. You called our lecturer a cunt under your breath and complimented the doodle I’d drawn of him in my notebook. I haven’t settled,” he said, taking one of Dan’s large hands in his two small ones. “I got lucky. I got you.”

(One of my absolute favourite things about writing Jones is coming up with scenarios about how they met. Cos Jones’ character is left so vague in the show we basically get to take his story wherever we like and weave it in with what we know about Dan. I like the idea that Jones and Dan have known each other a long time, because there is that easiness about their interactions in the show - which is almost definitely because it’s Julian and Noel and they have chemistry whether they’re trying or not, just on screen together it happens, and so it’s simple to imagine they’ve been close for a long time. Sorry I said cunt. I’m Australian and it’s considered a little less offensive here and I can imagine Dan saying it. I like the world of Nathan Barley because I get to swear a lot in it, it’s a nice outlet sometimes. Also I’ll never get tired of the image of those large, long fingers hands entwined with those short, stubby ones. Makes me happy.

Dan looked down at their linked hands and placed his plastered hand over the top. It wasn’t perfect but it would have to do for now.

(Ah, the cast. Cos this is post jump and Dan’s brain draws attention to the imperfections. But he’s also building on that. I am determined to give Dan more happiness.

“Eventually,” he whispered.

Jones chuckled.

“Yeah, eventually. Wish we couldn’t sorted ourselves out sooner but at least we got there, yeah? And I don’t regret that. I don’t regret you. I love you. Oh,” he murmured. “Sorry.”

“Fuck, Jones,” Dan whispered hoarsely. “Don’t make me cry in the middle of the fucking markets.”

“Sorry.”

“Me too.”

(I like this exchange very much. Thanks for asking me to do a little analysis on this bit, I actually don’t hate it and that’s rare for me when looking back at my own writing. The words ‘I don’t regret you. I love you.’ are pretty personally important to me. Also, gruff Dan trying not to cry, that’s a word picture I like to paint. The sorry’s are a call back to the argument earlier in the fic, that Dan’s not good at the public displays of affection and doesn’t like Jones saying it. As much as Jones was angry about Dan telling him off for saying ‘I love you’ when he says it here he’s genuinely sorry that he might have upset Dan more.

They sat in silence as the sky faded from orange to purple, until Jones sniffed and gave Dan’s good hand a squeeze.

(I probably mention sunset colours too often in my writing...

“Shall we just go home then?”

“Nah,” Dan said, taking a deep breath to clear out the emotion from his voice. “We’ve got a blazer to buy and boobs to peruse and vodka to imbibe.”

Jones gave him a grin that seemed, for a moment, to light up the closing night and Dan couldn’t help but smile back.

(My way of mentioning the sunshine smile without actually saying it. And I like the idea of Dan breathing the emotions out so he doesn’t have to hold them in. He’s done with the emotions and he’s do the determined thing. He’s basically ceding the argument to Jones without saying as much because actually agreeing or admitting he’s wrong is not something he’d do, but he’s happy to pretend it was his idea.

“Whipped cream flavoured vodka,” he reminded.

(There may have been a time in my life when I drank quite a bit of really cheap whipped cream flavoured vodka. Mmm. Fun times.

“Mm, my favourite.” The grin increased. “And maybe we can start, you know, kissing... before we get wankered.”

Jones blinked, but the grin stayed in place.

“What if there are people there who know you?” he asked. Dan shrugged.

“Fuck ‘em.”

“I’m not that much of a slut.”

Dan let out a laugh through his nose.

“You know what I mean.”

“Yeah, I do,” Jones nodded. “Thanks, Dan.”

(Dan Ashcroft’s preferred way of expressing his love. Also, I like this exchange too. Cheers for reminding me of it. I like writing snippets of Dan and Jones, just bits of their conversation, because in my head they have a really easy sort of banter I guess. Also, I like that Jones is pretty relaxed about his sexuality and sexual history, and that he knows how to make Dan laugh.

“You’re welcome,” Dan told him before schooling his face back to its usual scowl. “Now mush! I can’t wheel myself around and I have a ‘pretty good’ DJ to see and ‘cool’ people to sneer at.”

“Yeah, yeah, yeah,” Jones laughed, standing up and walking around to take control of the wheelchair once more.

(And they fall back in to character. Despite being a dag Dan actually tries hard to maintain his grumpy persona. I always struggle a bit with endings. I know this isn’t quite the end but it’s close and I always have this thing of trying to wind a story down and tie it up, dragging myself toward the end as I try to find the perfect last line. I like stories that end in a similar way to how they begin. I like when it circles back a bit but with closure. They start off with Dan being wheeled through town by Jones and them both being genuinely grumpy, Dan not wanting to be pushed, Jones keen to get them moving, now they end with Dan a lot more secure and telling Jones to hurry up and push and Jones pretending to not like taking Dan out on the town. Maybe, I think. I’m by no means an expert at it but I tend to try and do that, especially when it’s a little, snippet, slice of life, type story, like a few minutes out of their life. Sorry. But thank you for reminding me of this one. It’s not as bad as I thought it was.

[thenicedolphin]

Oscars Analysis With Biting Commentary: 2019 Edition!

We are BACK, with the 7th annual Oscars post from The Nice Dolphin (see links here for 2018, 2017, 2016, 2015, 2014, 2013), where Matt provides insightful, quality analysis while Alex texts some thoughts from his iPhone about how Lego Movie 2 was robbed of a nomination even though it’s not even eligible this year. As always, Matt is in regular font, and Alex comes in with the BOLD.

 You know what? Lego Movie 2 WAS robbed this year! Just like how Lego Movie should’ve been nominated for Best Picture in 2015 and didn’t even get nominated to be in the ghetto of Best Animated Feature. Horseshit. We haven’t even gotten to the first category and I’m already PISSED.

 Best Picture: “Black Panther” “BlacKkKlansman” “Bohemian Rhapsody” “The Favourite” “Green Book” “Roma” “A Star Is Born” “Vice”

 I’ll start by noting this wasn’t my favorite years for Oscar nominees. The top picks aren’t as good as Get Out or Lady Bird (or Phantom Thread) from last year. Or Moonlight and La La Land the year before. But there are a few great films in here, along with some mediocre picks.

 Nice try sneaking La La Land in there -- should’ve at least gone with Argo. I do agree that it’s a weak year. Lady Bird would’ve jobbed out almost all the other movies this year, and it was like the third best movie from last year (behind Get Out and Phantom Thread). Honestly, just go back and read last year’s post.

I’d go to bat for Roma for sure. It’s a great film. It certainly is a masterpiece of visuals and a writer/director getting to tell his personal story. It certainly felt like a movie event to watch it in theaters.

 Certainly.

 The sound was really creative (surround sound to make the neighborhood and events feel alive). The visuals were beautiful and poignant, as one would expect with Cuaron. He really put all his effort in telling this story, paying homage to his childhood and to the live-in maid who so strongly influenced his upbringing.

 Roma starts slow, but it builds, and I became enraptured with it during the second half. Some of the sequences are intense and well worth the previous groundwork. There’s a 10-15 minute sequence (just an estimate) that left me shook and in awe at the filmmaking (the scene starting at the furniture store). Another scene gave such emotional catharsis and helped close the movie really well. Roma also has some fun tangents and moments (I think of everything around New Year’s Eve) that some may find meandering. I dug them.

 While Roma was a technical masterpiece, I’m still not sold on it as a story. Literally nothing happens for the first 100 minutes then we get some things that are completely unnerving, including one image that does not feel entirely earned, to put it mildly.

 TASTELESS SPOILER ALERT

 Cuaron is like “yeah, let’s focus on some dog shit for two hours. Enjoying that? Well, here look at this dead baby for like 15 minutes straight.” Dude was on screen for EONS. Thought he was gunning for a best supporting nom.

 SPOILERS OVER

 Roma is definitely a loving portrait of Cleo, a personal ode to the women who raised Cuaron, and an astute look into the intersection of economic class and gender in 1970s Mexico, but I can’t tell if those well-made pieces combine to make a truly great movie.

 Otherwise, I’m not sure how much I’d want to rewatch this film or revisit it in entirety, but I really admired it and thought it was great. It is the frontrunner, and it would deserve Best Picture.

 I’m a little worried that because of its Netflix standing and that weirdness. For example, AMC and Regal didn’t include Roma in their best picture marathons/showcases because it didn’t meet the distribution requirement for those theaters. Does that affect voters too? It seemed to with a few previous prestige Netflix films, but things do seem different now. So let’s talk about the next upset contender right now: Green Book.

 Green Book is an interesting movie to me. It’s fairly polarizing because of the way it treats racial issues and the friendship between Viggo Mortensen’s white Italian character (Tony Lip) and Mahershala Ali’s black character (Don Shirley). You may have seen some of the controversies, such as how Shirley’s family wasn’t consulted on the film and disputes some of the representations of Shirley’s relationship with his family (deserving of criticism in my opinion). There has been criticism of director Peter Farrelly’s past on-set antics, or co-writer (son of Tony Lip) Nick Vallelonga’s tweet history (less of an issue to me to criticize the film, but still, not great, Bob).

 First and foremost, FOCK this movie. Tony Lip is racist as hell! Like REALLY racist. You can tell it was written by his son, because the movie treats Tony like he’s the perfect man who was just a touch unexposed to other cultures. He never really learned or grew, especially with the whole “You’re not even black!” rant at the end. He just goes from being super racist to not(?) racist because he’s getting paid to hang out with Dr. Shirley for a few weeks.

 Green Book has two great leading performances and some wonderful friendship moments. It has some funny Italian moments (is this racist?), and it has some great moments of strength by Don Shirley in rougher times racially. But man… I just can’t get over some of the key aspects of the film.

 The film really leans into the dynamic of hey, you’re black, I’m white, we’re different, but hey, we’re not so different! It feels antiquated, and this year, other films handled race relations better while being better stories overall (examples include Sorry to Bother You, Blindspotting, and If Beale Street Could Talk). Green Book’s lack of nuance reminds me of Crash and Driving Miss Daisy. Hell, the movie is called Green Book, and they barely mention it! They should have just called it something else.

 I get that little Nicky V. wanted to make a film about what a big man his daddy was, but it really only should’ve been loosely based on the Lip-Shirley friendship, and it could’ve avoided all the embarrassing fallout about Shirley not actually being estranged from the family/culture.

 The flipside of this is whether or not Green Book is an entertaining, good movie. And in some ways it is. The friendship is fun. The banter is entertaining. I really liked Wesley Morris’ analysis of this on a podcast with Bill Simmons, who discussed how, when you take aside race and the message, the friendship is well-portrayed and some of the editing and scenes work well.

 The first 30 minutes of this movie is some of the worst stuff ever recorded. Not even in terms of movies, but like, anything. It’s just Tony and his family being super racist, him entering into a hot dog eating contest (lmao what) and hacky banter between Tony and Dr. Shirley. Tony having to explain the concept of fried chicken to Dr. Shirley was a low point in a year that featured the existence of 15:17 to Paris. LOOK AT THE BABY CHICKEN LEG SPENCER

 But Green Book is trying to talk about race. It’s what the film emphasizes and it’s what the creators of the film emphasized during their awards run. And if you handle that clumsily, it’s hard for me to separate that from my enjoyment of the film. I don’t need to see more stories about white guys thinking black people are deplorable, and then well, you meet a black guy, and he isn’t so bad! That’s not a great story! Ultimately, Green Book is a solid film with some troublesome messaging that weighs it down. And the film isn’t so amazing story/acting wise to overcome those issues. It’s just kinda… vanilla.

 I’ll speak more on the leads in later sections, but if it wasn’t for Mahershala Ali’s deeply nuanced portrayal of Don Shirley, this movie would be completely irredeemable. Fortunately, he’s actually given a character with some agency, but everything about him is all done in service of the white man’s story about his “growth” as a person, which is really just him learning to be less of an asshole -- not exactly a hero turn!

 Also, how many fucking times did they need to cut back to Tony shrugging in the Orange Bird? Geez, we get it already.

 One more point to rant on: the fact that Tony’s son co-wrote the screenplay, and then Don Shirley’s family came out strongly against some of the story points REALLY rubs me the wrong way. Let’s put it this way: if a friend of mine did a story about his friendship with me, emphasizing inaccurately that I didn’t know how to eat Korean BBQ and had initially thought the idea of it was gross, and that I was estranged from my family but considered him and his family to be my family instead??? Dawg… I would haunt you from my grave for that shit.

 /quietly deletes “The Nice Dolphin” screenplay

 A Star is Born seemed like a heavy contender when it came out. It crushed the box office, critics and audience members seemed to love it, but it seems to have cooled off bigtime v. Roma and Green Book (really??? Green Book???). Well, I loved it, so let me sing its praises.

 A Star is Born was good, but not that good. A hugely entertaining first hour followed by some terribly-paced sequences and a weirdly undefined Jack Maine (I didn’t realize how he spelled his name until that concert poster at the end) combine for an enjoyable, but uneven film.

 Star is Born coulda gone poorly. Cooper trying to direct/sing/play music, Gaga trying to act, original soundtrack, and remaking an old story. Well, it works. The music is on point, the two lead acting performances are strong. There are some magical moments in this film… the scenes where they meet and flirt, where they write music together, when they perform Shallow… it’s so good! The film is good throughout, and the ending packs a wallop. I really like Star is Born, and I hope it can get more love than its likely Best Song win.

 I will admit, I knew the ending before I saw it, so some of the impact was lessened and it also basically ruined that scene with Jack and his counselor. Also it was really late at night and I was pretty cranky, so by the third or fourth scene of her lumbering around the dance studio, I was ready to call it.

 Still, Gaga and Cooper have great chemistry, which made the early scenes pop. However, the movie seemed like it didn’t really know what to make of Jack. Was he truly a troubled poet, or just a raging asshole using his art as an excuse for being an awful person? Was he a big country star selling out amphitheaters or a washed up, piss-soaked loser? What the movie was trying to claim as nuance really just came off as equivocation.

 I am pleasantly surprised that The Favourite got as much Oscar buzz as it did. Alex can elaborate, but Yorgos is definitely a more out there director, and The Favourite seems to work really well as a pivot for him. It’s a little more mainstream, but not completely. It’s not a sell-out. This movie is still probably too weird and rated R for some people.

 As a true Yorgite, I am THRILLED that my man is getting more mainstream love. The Favourite and Black Panther are my two favorite Best Picture nominees this year, despite them basically having no shot at winning.

 Even going a bit “mainstream” here (this is the most natural-sounding dialogue in the Yorgos filmography), Yorgos sacrifices nothing about his unique, vicious style. This movie is as nasty, biting, and hilarious as anything else he’s done, and the entire cast (especially the three leads) delivers.

 I really liked it. The performances were great, the story was really fun (Mean Girls but in a royal setting, or All About Eve, which I haven’t seen), the camerawork was interesting. I like how unconventional it was in some ways, like the ending just sorta sneaking up on me.

 I saw this in a packed theater and I could definitely tell it was a lot of older couples who thought they were in for something along the lines of “The Crown” or “Downton Abbey,” and not heavy lesbian erotica. Also, despite what he says, I don’t consider Matt a true Yorgite, so it’s no surprise he wasn’t ready for that ending. My first thought when them bunnies hit the screen? “Yorgos, you’ve done it again!” A true masterpiece.

 People are worked up about Black Panther getting a nomination, and I’m like… have you seen Bohemian Rhapsody or Vice? And you’re mad about Black Panther?

 People being mad about the Black Panther getting nominated and Green Book getting legit Best Picture love? If only there was some common thread here...

 First, I’ve definitely had friends surprised because for them, Infinity War was better… but I mean, they’re big Marvel fans so IW was a bigger deal to them storywise. Meanwhile, a lot of friends also told me how amazing Black Panther was, how it was their favorite Marvel movie, how it was so much more than a superhero movie, etc. Critics gave it strong reviews deservingly in my opinion, and it crushed the box office because it resonated with a lot of people. Just because it’s not as critically good as Roma and it’s a superhero movie doesn’t mean that it’s only in because it’s about race or that it doesn’t deserve it.

 Black Panther absolutely deserved the nomination. Despite Avengers: Infinity War being a more crucial story to the MCU, Black Panther was a better, more cohesive film. IW was basically one long chase/fight scene, which I loved, but it can’t really stand on its own.

 Black Panther built an entire world, populated it with fascinating characters with complex motivations, and had some badass action scenes all within the span of like two hours.

 Also, come on guys. This is the same show that’s given nominations to… Bohemian Rhapsody. And Extremely Loud and Incredibly Close (did anyone actually see that?). The Post, American Sniper, Philomena (does anyone remember that?)... I mean, does a movie only deserve to be nominated because it was about an Oscar-type of topic? I say nominate more of these blockbuster movies (IF they are good). Why did Mission Impossible and Crazy Rich Asians and Game Night not get nominated when Bohemian Rhapsody did? They were better reviewed.

 First of all, I take umbrage to you including American Sniper with that trash. Also, Game Night didn’t get nominated because it wasn’t that good (it’s still better than Green Book and Bohemian Rhapsody, but you get it). Crazy Rich Asians and Mission Impossible were both fantastic. Actually, here is an incomplete list of movies that are better than Bohemian Rhapsody and Green Book that came out this year, but didn’t get much, if any, Oscar love:

Annihilation Bad Times at the El Royale Crazy Rich Asians Deadpool 2 The Equalizer 2 (didn’t actually see this, but it’s got Denzel) First Reformed Halloween Lego Movie (still) Mission Impossible: Fallout A Quiet Place Searching Sorry to Bother You Spider-man: Into the Spider-verse (got some love, deserved more) Widows

 Honestly Teen Titans Go! To The Movies and Venom were better than that trash too.

 Anyway, Black Panther rules. It’s got an awesome cast of characters, it represents culture well, Coogler crushes the direction, the story is fun, and the villain is super compelling. People loved the ending scenes of Black Panther. This movie is worthy. Also shoutout to that last scene between Boseman and Jordan. Seriously, so good. Honestly, Black Panther had at least 4 scenes that were just as dramatic AND better-done than BR.

 That sounds impressive until you realize that BR had zero well-done scenes. Seriously, every time I think about that movie I hate it more. It’s the opposite of Phantom Thread. It’s the Terrestrial Thread.

 Bohemian Rhapsody is probably one of the worst movies to be nominated for Best Picture in recent years. Look, if you like the movie and find it entertaining, that’s totally fine! Just don’t tell me Black Panther didn’t deserve it when it’s better in every technical aspect.

 The editing is bad. The story of the movie is a censored version crafted by the living band members of Queen to paint them in the best light. Freddie Mercury is portrayed like more of an immature punk than he deserves, and the other band members seem like the grown-ups. The dramatic scenes are not very good. It’s just fine. The acting is solid. The movie is fun when the band is playing music or making music. But it really drags at parts. A solid B- crowdpleaser. NOT an Oscar movie.

 The only time this movie is entertaining is when Queen is playing/making music. Just save yourself the trouble and watch some old concert DVD or whatever. Every “based on a true story” movie is going to take some liberties with the facts, but this is the first movie I can recall that makes the true story MORE boring. This is literally the exact same movie as Straight Outta Compton, except that one was better -- and didn’t even get nominated! Straight Outta Compton is the Lego Movie of musical biopics.

 BlacKkKlansman was a powerful movie, though I’ll say it isn’t peak Spike Lee for me. It is really good in moments, and it’s also weaker in stretches. Basically, whenever the main character is infiltrating the KKK or working with his partner, the movie works. The scenes about the civil rights movements are really good, especially a scene where Kwame Ture gives a speech. The movie is slower when it tries to delve into Ron Stallworth’s personal life and romance. The movie is probably 15-20 minutes too long, which would be my main critique. And the ending is a bit polarizing (it worked for me, but I can see the argument against it).

 15-20 minutes too long? Sounds like peak Spike to me. Hey-ooooooooooooo!

 I really dug BlacKkKlansman, but man the capitalization of the title is infuriating. I agree that it’s a bit scattered (and not in a way that actually serves the story), but overall, I think Spike put together a film that is entertaining, exciting, and sadly all-too-relevant in today’s world. The scenes from recent news at the end might’ve come off a bit clunky to some, but it really brought the message home that in some ways the movie might’ve had a “happy” ending, but in no way is the big picture a positive one.

 Vice. Man. I was really looking forward to this one and I was disappointed. It felt like Adam McKay took all his tools from The Big Short and used them to excess. The Big Short was crisp and covered one specific story. Vice tries to cover a lot of years of Cheney’s life without much cohesion. I wish the movie had focused more on the VP years, which were the best parts of the movie and far too short. The Big Short’s narrator was a main character who explained a lot of complicated concepts that related to his character. Vice tried to have a random character with tons of narration, and it was all over the place without really having a reason for being in the movie. McKay also tries a few other ambitious things that don’t work as well when your movie isn’t strong. Basically, the riskier decisions stuck out more poorly. I wanted to dig this movie, but it just wasn’t very well-made, and I’m underwhelmed by its nominations.

 I didn’t get around to Vice, but there’s something comforting about knowing that I’ll never see all of the Best Picture nominees. Not that I’ve ever let that stop me from providing commentary before. Besides, after Matt’s SCATHING review, I probably made the right call.

 An interesting theme that pervades several of the Best Pic noms this year is the movies being directly at odds with their “true stories” in ways that actively hurt the movies. Green Book, Bohemian Rhapsody, and BlacKkKlansman all suffer from this. Maybe Vice too? Who knows.

 Generally, I try to separate the movie from the real events it’s based on. Real life is rarely as entertaining as a Hollywood flick, so I totally get why Die Hard didn’t have a third act of Carl Winslow filling out paperwork. HAVING SAID THAT when the true tale gets twisted into something totally unrecognizable, is it fair to criticize the movie for that? Green Book completely mutated the character of Dr. Don Shirley to fit a narrative of friendship triumphing over racism; Bohemian Rhapsody mischaracterized the relationship between Freddie Mercury and his bandmates to create a non-existent redemption/comeback arc; BlacKkKlansman ignored all the ways Ron Stallworth sabotaged the pro-Black movement in Colorado in service of painting police as the true heroes of equality.

 I don’t have all the answers here, but these three examples feel like particularly egregious warpings of reality. However, I want to use this opportunity to praise YORGOS, who took enough from history to give The Favourite some context, but was up front about his editorialization enough to where the historical inaccuracies didn’t matter, and it didn’t feel like watching some ol boolshit.

 I wish First Man and If Beale Street Could Talk had gotten in over Vice and Bohemian, or in addition to (since the nominations can go up to 10).  Hell, if you had just added these two to make it 10, this crop would look stronger. The follow-ups for the directors of La La Land and Moonlight, neither film was as strong as the previous outings, but both were quality art. First Man sometimes had less impressive action with its use of shaky cam in the cockpit (which made the theater experience dizzying at times), and it mostly lost the mainstream audience because it was less adventurous than movies like The Martian or Interstellar. It also chose to try to portray Armstrong as an ordinary, less romantic type of hero, which may have been to its detriment for entertainment purposes. But I really liked the story of Neil Armstrong and NASA, warts and all. It felt more authentic and well-acted compared to, oh, I dunno, BR. And the moon landing scenes were breathtaking.

 Beale Street struggled for me with its back-and-forth narrative, and some characters who I wish had more to do but some of the scenes were so good, and the art of it was beautiful. I also wish foreign films like Cold War and Shoplifters could get some Best Picture love too, but I’ll talk more about them below.

 Cinematography: “Cold War,” Lukasz Zal “The Favourite,” Robbie Ryan “Never Look Away,” Caleb Deschanel “Roma,” Alfonso Cuarón “A Star Is Born,” Matthew Libatique

 (edit: We put these categories here as a little TND protest for when the Oscars weren’t gonna air them on the regular telecast. But we’ll leave them here still, because these categories rule.)

 The presumed favorite appears to be Roma, with Cold War as a potential dark horse. After Cuarón’s go-to cinematographer Emmanuel Lubezki (three-time consecutive Oscar winner at one point, including for Cuarón’s Gravity) left, he pulled a Thanos and decided to do it himself. Roma’s photography has all the marks of a Lubezki/Cuarón joint. He did well. Some of the shots may be a bit much (as one friend asked, why so many dog poop shots?). But the tracking shots are glorious and usually worked well for art. Following the lizard around on a random day, Cleo running along the street, the shot of the men training, the forest on New Year’s Eve… and of course, the aforementioned furniture store and beach sequences.

 I didn’t see Cold War, but it’s fine because Roma will win. Roma does look great, but damn can Cuaron get another trick besides panning ten feet in either direction after the natural conclusion of a scene? Seriously, he does it like every twenty minutes. I guess this is world building? “You see, here’s what’s happening to our characters. And there’s also more stuff happening...slightly to the left.”

 I was very curious about Cold War after it got a best director nomination as well. The cinematography was beautiful too. And it also deals in black-and-white like Roma, and with different camera framing (I’m not technical enough to explain that). It had some great shots too, in particular a shot with a mirror that really impressed me. Of note, Cold War beat Roma in the American Society of Cinematographer Awards.

 A Star is Born had some good camerawork and cool concert shots.

 Great camera framing when the guy pisses himself. You really *feel* the piss.

 The Favourite was worthy of a nomination too, using some unique camera angles and fisheye lens shots that could have been distracting but ended up working really well for the movie. I have not seen Never Look Away, but the trailer looked good.

 Those long hallway shots in The Favourite were superb. Robbie Ryan is a true Yorgite.

 Film Editing: “BlacKkKlansman,” Barry Alexander Brown “Bohemian Rhapsody,” John Ottman “Green Book,” Patrick J. Don Vito “The Favourite,” Yorgos Mavropsaridis “Vice,” Hank Corwin

 LOL Bohemian Rhapsody. See the aforementioned link about the bad editing in it. I mean, I guess the montage while they recorded the title track was really fun, but cmon! I also had a lot of fun during some scenes of Venom, and I didn’t see that get a bunch of noms!

 Well maybe it should have! Matt made me watch that clip of the first record exec convo from Bohemian Rhapsody, and it’s so bad it wasn’t until like my third viewing when I realized Matt was trying to point out how poorly edited it was. Seriously, I couldn’t even get past the dialogue: “Queen...is for losers” “Well I’m sold!”

 Vice seems to be a favorite on Gold Derby. The movie was too all over the place for me, and I guess it would win for the most editing, because there are all sorts of jumping around and montages and random things the film does. Bohemian is the next favorite, so I don’t really care for this year’s winner. Maybe this year it SHOULD be on commercial break. Jk.

 I didn’t see Vice, but I agree with Matt that more editing definitely doesn’t equal better editing. I think Billy Walsh would agree that sometimes it’s about the cuts you DON’T make.

 I would vote for The Favourite. It’s crisp and efficient. Green Book’s editing is probably a strong suit too, admittedly. BlacKkKlansman could have been shortened some, but the editing during some of the back-and-forths (I think of the KKK meeting versus the black students’ meeting at the end) was really good.

 I agree* that all three of these films were well-edited. It’s a shame that apparently they have no chance at actually winning this award.

 *I think I’ve already set a record for most times agreeing with Matt in an Oscars post. We’re like one of those old married couples that gradually turn into the same person over the years. Sure it might make for a boring post, but at least we’re RIGHT.

 Director: Spike Lee, “BlacKkKlansman” Pawel Pawlikowski, “Cold War” Yorgos Lanthimos, “The Favourite” Alfonso Cuarón, “Roma” Adam McKay, “Vice”

 Cuarón is the presumptive favorite, and he would be very worthy. He shepherded this project to fruition, he told the story he wanted to tell, and he kicked ass. I’ve heard Spike Lee is a possible surprise here, but I’d rather see him get the Screenplay win. As mentioned, BK is not his strongest work for me, and doesn’t quite compare to Do the Right Thing.

 Finally Matt says something stupid! Okay because BlacKkKlansman wasn’t as good as one of the greatest films of all time, Spike doesn’t deserve a win here? I’m not even saying he should win, but if he doesn’t, it’s not because he made a better movie in 1989.

 Cuaron will probably take home the gold, and it’s well-deserved, as he really put his signature style on every aspect of Roma. It’s obviously an extremely personal project for him, but he never lets it dip too far into “diary” territory, and ultimately allows the audience inside of his perspective instead of forcing us to observe from a distance.

 It’s dope that Pawlikowski got nominated sorta out of left field. He really crafted an interesting, powerful story, and it was creative and unique. Yorgos deserves props for his nomination, managing to combine his style with someone else’s script (first time using a script that wasn’t his!). I’m glad Peter Farrelly didn’t get the nod here, but I wish Cooper had gotten it in over McKay. Vice is not that impressive, but I really dug some of the decisions made in Star.

 This might come as a surprise, but I’m quite happy Yorgos got nominated and would love for him to get the upset victory over dog dookie Cuaron. Shoutout to both guys for being able to direct the hell out of some nudity though.

 Lead Actor: Christian Bale, “Vice” Bradley Cooper, “A Star Is Born” Willem Dafoe, “At Eternity’s Gate” Rami Malek, “Bohemian Rhapsody” Viggo Mortensen, “Green Book”

 My Cooper support continues! I hope he wins, and it sounds like some people want him to be a surprise upset here. I thought he really built this role up and nailed it. This could have gone poorly. He could have sounded like Russell Crowe in Les Mis, his voice could have been weird, and he might not have been so likable on screen. But he was! He really became Jackson Maine and crafted this interesting, romantic, tragic character. I thought he was terrific.

 *big sigh*

 I agree with Matt again. Cooper was fantastic in playing a could-have-been-thankless role of a guy who does terrible thing after terrible thing, but still needs the audience on his side at the end. His singing was more than serviceable in the movie, as it was mostly done in live concert scenes where him being a little ragged fit the character/moment. Just uhh, don’t pull that shit up on Spotify.

 Rami Malek is the frontrunner here, which surprises me. Again, I don’t like the movie, but I also like Malek. But Malek has impressed me much more in projects like Mr. Robot and The Pacific. Here, I feel like he is doing a solid impersonation, but he’s not blowing me away like DDL in Lincoln. I feel like he was also limited by the weak script/story. I wish he had had more powerhouse scenes and dialogue, but he just didn’t.

 Oh he didn’t blow you like DDL in Lincoln? That might’ve been the greatest biopic performance of all time. “Malek was good, but his acting wasn’t as good as Spike Lee’s directing in the 80s.”

 Not to defend Malek, dude is just up there doin a little bucky beaver impression -- and I like Malek! Shit was limp and lame. IAWM (I agree with Matt) in that the rest of the movie was so bad, Malek was never afforded the opportunity to rise above being a Halloween costume. Still, he did next to nothing, even with scant material.

 Bale obviously made an impressive transformation in weight/look for Vice, and I always am a fan. He was pretty good here, and I’d be fine with a win, but it wasn’t his best work.

 Viggo was good, but part of the problem of the movie is the fact that Viggo was the lead instead of Mahershala, as the film would have benefited more from being through the lens of Shirley’s view, and not Tony Lip’s.

 Yeah, it pisses me off that Viggo (lol never realized how funny of a name that is until I just typed it) is even in this category. Sure he did a fine job playing a racist guy...maybe a little too fine of a job? I’m surprised Liam Neeson wasn’t clamoring for the role of Tony Lip, so he could do a little method acting.

 As for Dafoe… I don’t know anyone who saw this film, and I wasn’t hyped enough to go see it. Hell, the idea of a 60+ year old playing a guy who died at 37 was enough to not get me hyped, even if the makers tried to say he would have looked like Van Gogh because of the circumstances of the times.

 I obviously didn’t see this movie, but wow that is a hell of a paragraph. Are most people hyped by an old man playing a younger man? Actually, I heard that the producers were worried that Dafoe didn’t look old ENOUGH and were going to CGI in Christopher Plummer. Still though, “circumstances of the times?” I know 2019 seems awful, but this is a helpful reminder that the world use to be a literal hellscape.

 I would have liked to see Ethan Hawke here for First Reformed. He carried the movie, he was awesome in it, and it was definitely unlike the normal Hawke performance I’ve seen before.

 Matt, put a backhanded compliment warning there, sheesh. Hawke was fantastic in First Reformed and absolutely deserved a nomination ahead of Viggo, Malek, Fat Bale, and Benjamin Button-ass Dafoe.

 Gosling here would have been good too. Also would have been cool to see an indie lead, whether Lakeith Stanfield in Sorry to Bother You or John Cho in Searching.

 Stanfield and Cho crushed it in their respective roles. Funny story, Cho initially passed on Searching, but the filmmakers basically stole his phone number and hounded him until he agreed to do on the condition that they leave his ass alone afterwards.

 Lead Actress: Yalitza Aparicio, “Roma” Glenn Close, “The Wife” Olivia Colman, “The Favourite” Lady Gaga, “A Star Is Born” Melissa McCarthy, “Can You Ever Forgive Me?”

 Glenn Close is supposed to win. It’s apparently a lock. This definitely feels like another career honor, since this is her 7th nomination and she hasn’t won. Close is pretty good. The movie is OK and she has a delicate, graceful, but powerful performance here. I mainly just feel like it was the least memorable role here.

 I didn’t see The Wife, but for some reason I’ve got love for Glenn, so I’m happy she’s getting a win.

 Colman wasn’t necessarily the lead of the film, and it was really a three-headed monster (apparently Stone’s character has the most screentime), but she was awesome. She nailed this crazy, sad, bigtime character. I’d pull for her, and I think she has a small chance.

 Colman might’ve had less screen time than Stone, but as the raunchy queen, she commands the audience’s attention much like she commands love from Stone and Weisz. Everything is in service of the queen and Colman puts every ounce of emotion and feeling into a role tightly balanced between needing fealty and needing love.

 Gaga was a contender for a while, and I really liked her and was impressed with her rising to the occasion and taking on this lead role, weaving in her real life story with this fictional character. I think she didn’t always quite hit the acting level of Cooper, but she was close.

 Gaga was good for a rookie, but cmon. She basically had like two expressions the entire movie (dumbstruck and covering half her face/sad and covering half her face).

 I was really into McCarthy’s performance and thought this was a legit good indie film. Small story, really focusing on her character, and she carries it well! The Wife and this are smaller indie stories, but I was more wowed by McCarthy. She handles a sad sack of a character, self-loathing, mischievous, witty. I think she’s a great actress who sometimes ends up in unfortunate movies. This was a good one.

 Shockingly I didn’t see Can You Ever Forgive Me?, but I’m glad McCarthy is getting love. She’s a great actress, but always finds herself in shitty movies.

 I’m so glad Yalitza Aparicio got a nomination! She wasn’t quite as strong to me as Colman or McCarthy, but she has to be good for the film to be good, of course, and she is. I think the technical aspects of the movie outshine her performance in some ways, but she deserves merit.

 Yalitza’s gotta be straight up laughing at all the love for Lady Gaga. Another first time actress, she actually does a great job in the film instead of just getting points because she has hit single songs. The range of emotions on her face when confronted by the nude ninja alone made her worthy of a nomination.

 Who else would I have wanted? Maybe Joanna Kulig for Cold War. She’s a star, and she dances/sings/acts in terrific fashion. Also shoutout to Natalie Portman for Annihilation and Elsie Fisher in Eighth Grade. No one’s gonna remember The Wife in 5 years, but Eighth Grade will stand the test of time.

 Supporting Actor: Mahershala Ali, “Green Book” Adam Driver, “BlacKkKlansman” Sam Elliott, “A Star Is Born” Richard E. Grant, “Can You Ever Forgive Me?” Sam Rockwell, “Vice”

 Mahershala is expected to win, and he’s really good as Don Shirley, so I’m cool with it. He is such a magnetic actor, and he carries Shirley well. It’s a pretty different type of character from Juan in Moonlight. Juan’s performance leaned in on charisma, masculinity, and tenderness. Shirley is a character reliant on dignity, sophistication, and inner rage. He nails both. He’s really good. For all the faults I have with the making of Green Book, I do really like Mahershala here. It’s pretty wild that he’s about to get his second Oscar, but hey, good for him!

 You mean an actor played two different roles? Wauw.

 Mahershala completely carried Green Book and filled Don Shirley with so much nuance, complexity, and integrity that he himself should’ve gotten nominated for Best Picture. He IS the movie. It’s such a shame his character was relegated to the supporting role because there’s so much awesome internal logic to Dr. Shirley that he’s fascinating to watch and Ali does a great job of bringing all of that to the forefront without having to resort to speechifying his thoughts or emotions.

 I really like Driver and always like his work. He’s a unique, compelling actor in whatever role he’s in. He has more to do in BK than John David Washington’s main character, and he’s not weighed down by the romance story. There’s something really convincing in any role Driver portrays, whether it’s Kylo Ren, Adam in Girls, or his performance in Silence. I thought his performance was pretty key to the BK story.

 Driver definitely brings a fun presence to BlacKkKlansman helping to achieve the delicate tonal balance Spike was looking for. I mean, not as good as the tonal balance JGL brought to Lincoln, but I digress.

 Grant was really wonderful and charming, and he really carries the movie along with McCarthy. Elliott doesn’t have a ton of scenes in A Star is Born, but each scene of his was a highlight for me. His relationship with Cooper is key to the film, and I really dug it. I don’t really see why Rockwell had to get a nom here. He’s not too essential to the film, and he does a good W impersonation, but this just pales in comparison to his role last year in Three Billboards.

 Ha I only skimmed that last paragraph and just furiously googled “Sam Elliott Three Billboards” because I was confused as fock. Yeah that last conversation between Cooper and Elliott was fantastic, and Elliott is great throughout as the older brother who never got quite as much ass as Jackson Maine.

 We couldn’t have thrown a nod here to Michael B. Jordan instead, for his compelling (albeit polarizing) acting job in Black Panther? I also loved Brian Tyree Henry’s character in If Beale Street Could Talk. Similar short screentime to Rockwell, but way more impactful and memorable. Henry’s scenes in Beale Street are some of the best work you’ll see from last year.

 Was that acting job really polarizing? We have a term for people who have negative things to say about Black Panther. They’re called...Vallelongas. Brian Tyree Henry is one of my favorite actors, so I have no doubt that he was great in Beale Street. I do want to shout him and Daniel Kaluuya out for their performances in Widows. For a story about four strong women coming together to wreck some shit, Henry and Kaluuya stole the show. And my heart.

 Also want to shout out my man Beast! Not saying he should win, but his scene to hilarity ratio in The Favourite was easily 1:1. Everything in The Favourite popped, but his presence made it even poppier.

 Supporting Actress: Amy Adams, “Vice” Marina de Tavira, “Roma” Regina King, “If Beale Street Could Talk” Emma Stone, “The Favourite” Rachel Weisz, “The Favourite”

 I really like Regina King, and she’s pretty good in Beale Street, but I’m sorta surprised that she became the consensus pick. She doesn’t quite have as memorable a performance for me as Mahershala’s or say, Brian Tyree Henry in the same film. She’s a great actress, but there’s not a ton for her to do, and I didn’t leave that film being like WOW, that character!

 Stone and Weisz seem to negate each other, unfortunately. They are both terrific. I didn’t love Stone in La La Land but she’s really fun and vicious here. Weisz is great too and has a lot of fun. I would probably give the edge to Weisz, but I’d strongly praise either performance.

 Weisz was amazing as Sarah Churchill. She is definitely the centerpiece of the film, and does a wonderful job providing an axis for all the wild shit that goes down. What really elevates her performance is that she doesn’t fall into the trap of merely being the straight woman (no pun intended, seriously), and still imbues her character with loads of cunning, fire, and personality.

 Stone was great as well, and I’ll say I didn’t enjoy her in La La Land either, but that’s mostly because I was watching La La Land at the time.

 Amy Adams is awesome in general and good in Vice. Marina de Tavira is really good in Roma, and her nomination was a nice surprise too. Her character as the mother is really pivotal to the story, and I thought she was good at being overall likable even while sometimes being harsh.

 De Tavira gives a great performance in a role that would’ve been easy to gloss over if played by another actress. She never allowed herself to become a background character or only appear as Cleo’s boss. Her story is just as dynamic and heart-rending as Cleo’s, and with less attention given to it, only a great performance would give it the weight it needed and de Tavira absolutely delivered.

 Original Screenplay: “The Favourite,” Deborah Davis, Tony McNamara “First Reformed,” Paul Schrader “Green Book,” Nick Vallelonga, Brian Currie, Peter Farrelly “Roma,” Alfonso Cuarón “Vice,” Adam McKay

 The Favourite seems to be… the favourite for this category.

 Nice.

 It’s a fun, witty script based on historical events (and it seemed to do a decent enough job being similar enough to real life!). Updating a story for the modern times in film format is no easy feat, and I really enjoyed this story.

 Like I mentioned earlier, The Favourite does a great job of drawing just enough historical context while still keeping things fresh and honest, without making the story feel bastardized.

 This is Paul Schrader’s first nomination, which is pretty crazy when he’s had films like Taxi Driver and Raging Bull. First Reformed has a unique, fascinating, compelling premise and story arc. It does remind me a good bit of Taxi Driver in some ways but is its own story too.

 Really happy First Reformed got a little love. In a time when we’re getting nothing but remakes and sequels, a truly original story is always welcome.

 I don’t want Green Book to win. As mentioned, this shit wasn’t vetted by Shirley’s family, which seems kind of important! And it’s a bit cheesy throughout. Technically speaking, it seems like the directing/editing would be better than the writing here. Vice… that story was so all over the place. McKay’s script for Big Short was way crisper and stronger. Roma is a great film, but I don’t put its screenplay up as strongly as its other technical achievements. Eighth Grade should have been nominated here and been a contender. It won at the Writers Guilds Awards (Bo’s speech is really funny too), and Bo Burnham made a brutally vulnerable, honest story about adolescence and technology.

 I usually make a joke here about how movies based on actual events should be in the Adapted Screenplay category (since they’re adapted from real life!), but I guess Nick Vallelonga really took that to heart because he basically removed any shred of reality from Green Book. May as well give Bohemian Rhapsody a nod here too lol

 Adapted Screenplay: “The Ballad of Buster Scruggs,” Joel Coen , Ethan Coen “BlacKkKlansman,” Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee “Can You Ever Forgive Me?,” Nicole Holofcener and Jeff Whitty “If Beale Street Could Talk,” Barry Jenkins “A Star Is Born,” Eric Roth, Bradley Cooper, Will Fetters

 The rules for adapted are always funny. A Star is Born is based on three previous versions, and Buster Scruggs apparently has some adapted short stories but other completely original short stories. Weird. I wouldn’t feel too strongly about Star’s screenplay since I feel like the quality in its update is more in the acting and music, versus the writing. Buster Scruggs was a mixed bag for me, with some awesome and some meh stories.

 Bro, which stories were meh? Name names! There wasn’t a bad one in the damn bunch.

 BK seems to be in the lead, which would be a cool win for Spike Lee (he previously received an honorary Oscar). Apparently the movie changed a lot, which I imagine was positive for movie action/plot intrigue. I feel like whatever the screenplay did with the romance didn’t really play, but I’m not really sure what else I would push alternatively.

 Matt is really hating on the romance angle in BlacKkKlansman. I’ll be honest, I barely remember that aspect of the movie, so the hate is probably warranted.

 Beale Street was a worthy effort, but I felt like the narrative was all over the place and wonder if Jenkins could have done a better job conveying the story in movie form. I don’t think it was an easy book to adapt, as I’ve heard with Baldwin fiction, but the product in the end doesn’t measure up to BK. As for Can You Ever Forgive Me?, I thought it was a stellar story, and also apparently people don’t think the original memoir itself was very good, so I guess it gets points for that!

 Go ahead and give Jenkins the win to make up for that L* L* L*nd/Moonlight mix up back in 2017.

 Best Documentary Feature: “Free Solo,” Jimmy Chin, Elizabeth Chai Vasarhelyi “Hale County This Morning, This Evening,” RaMell Ross “Minding the Gap,” Bing Liu “Of Fathers and Sons,” Talal Derki “RBG,” Betsy West, Julie Cohen

 I’m not a big documentary guy, but they have gotten more popular (Won’t You Be Me Neighbor, Three Identical Strangers, Free Solo, and RBG all were box office documentary hits this year), and I’ve ended up checking a few more out. Won’t You Be My Neighbor was one of the most noted snubs when nominations came out, and it’s a shame it didn’t get nominated. It was beloved and had a notable cultural effect last summer, and I thought it was terrific and charming. I didn’t see Three Identical Strangers yet, but I’ve heard it considered to be a snub too, which Alex can elaborate on.

 Shit I had this whole paragraph written up about Mr. Rogers, but Matt just reminded me that it didn’t get nominated. Basically the punchline was that I watched it with my parents and they just clowned Fred the whole time, which I think explains a lot.

 Three Identical Strangers was great, but apparently I’m the only person who either didn’t know about the second twist or didn’t think it was that shocking/big of a deal. I gotta say, capitalizing on your 15 minutes of fame by opening a celebrity restaurant in New York City is probably the most 1988 thing ever.

 Also, no love for the Pope Francis doc? Guess I’ll see the Academy in hell...as I look down from Heaven!

 The betting odds seem split between Free Solo and RBG, with Solo slightly ahead. I am all about Free Solo, and I hope it wins. It’s an incredible, fascinating story. Is this guy insane for making this climb? How do we feel about him with his girlfriend? How do we feel about his girlfriend with him? How do we feel about the documentary crew filming him? Are they enabling him? Deterring him? These are really interesting dynamics throughout the story. It’s helpful that everyone involved in the story is inherently likable, and they are wondering about these same dynamics. Also, although I think most people know the fate of Alex Honnold’s climb before watching, the feat is so extraordinary and ridiculous that you will still be stressed out, nervous, and fascinated watching it.

 The climbing footage is awe-inspiring. The filmmakers do a great job explaining the audacity and absurdity of the climb so that the average viewer can understand what’s going on. This is such a good documentary.

 RBG the person is awesome, and I’m a big fan. But RBG the documentary is just… good? I feel like voters must have been split between this at Won’t You Be My Neighbor, and it’s hard not to compare the two, since they came out around the same time and are both about revered figures. WYBMN has really good editing and panache, and an inherent charm in talking about Mr. Rodgers’ legacy and his past. RBG feels more by-the-numbers and with less impressive editing and focus. It felt a bit short and all-over-the-place. I could have used more time on her advocacy versus her time exercising or becoming a cultural meme.

 WYBMN also benefited from having tons of footage from the TV shows. RBG by comparison doesn’t have as much old footage, and with RBG alive, they do a lot more interviewing her or following her around. It’s an interesting glimpse, but doesn’t work quite as well for me. It’s a good film, and I enjoyed getting more of a look into RBG’s life. But I don’t want it to win.

 Minding the Gap is the other film I saw out of this batch, and it had caught my eye after being on a few critics’ best movies lists at the end of 2018. It’s on Hulu, and it definitely wouldn’t become a box office hit. It has an indie vibe for sure, as Bing Liu, a young filmmaker, follows two friends as they grow from teenagers to young adults, along with examining his own life. The film delves deeply into masculinity, physical abuse from childhood, and identity in the Midwest. It really builds and gets stronger and stronger towards the end. There are some deep emotions that this film can evoke in the viewer, and I really felt for the story by the end. Also, a bonus is that the footage of them skateboarding is really beautiful and whimsical.

 Best Foreign Language Film: “Capernaum” (Lebanon) “Cold War” (Poland) “Never Look Away” (Germany) “Roma” (Mexico) “Shoplifters” (Japan)

 Roma is the clear favorite here. I almost wish that if Roma was definitely getting best picture, they could just retract its nomination here so someone else could win!

 Ha that’s actually not a bad idea. These other flicks don’t stand a chance when Roma is going toe-to-toe with the entire field of movies.

 I really liked Cold War and Shoplifters. I didn’t get a chance to see Capernaum or Never Look Away. Never Look Away seemed to have mixed reviews, which makes me wish that Burning (South Korea! Steven Yeun!) got the nom instead. While in the lobby post-Cold War, my friend and I saw a bunch of people left Capernaum in tears, so… that seems like it must have been good and sad?

 Bro, people were crying because it SUCKED. Jk, I’m sure it’s wonderful. Also, has a foreign language film ever been nominated that wasn’t a totally depressing tearjerker? Do countries besides the U.S. and France make comedies? I know there isn’t much to laugh about in Turkmenistan or wherever, but I’m just asking.

 Cold War is by the previous winner of Ida, another excellent black-and-white film. While Ida was smaller scale in time, Cold War spans a romance of two musicians over some years. It similarly tackles the repercussions of WWII and the titled Cold War on Poland. The two main characters are really captivating and dynamic to watch. The music portrayed is super fun. The challenges of the times are fascinating. My one gripe is that the film felt a bit weirdly paced at times, partly because it was covering a multitude of years, and the characters’ decisions were sometimes a bit too dubious for me.

 I really dug Shoplifters too. It’s a lovely, beautiful film that ponders what a family is. The characters aren’t conventional good guys, mistakes are made, and these characters try to keep their version of a family together. Sometimes the movie is beautiful and optimistic, sometimes it’s sad and heartbreaking. I also liked how the movie was intentionally confusing about some details, to add to the storytelling aspect.

 Animated Feature: “Incredibles 2,” Brad Bird “Isle of Dogs,” Wes Anderson “Mirai,” Mamoru Hosoda “Ralph Breaks the Internet,” Rich Moore, Phil Johnston “Spider-Man: Into the Spider-Verse,” Bob Persichetti, Peter Ramsey, Rodney Rothman

 SPIDER-VERSE. All the way. That movie could have gone poorly. There is definitely a lot of Spider-man content out in the world in recent years, and the movie worked by both leaning into that and truly creating its own story to stand on. Miles Morales was an awesome main character. Peter Parker was a great side character (that was definitely a risk in storytelling). Miles’ family characters were well-portrayed (shoutout Brian Tyree Henry and Mahershala Ali, AGAIN. Those dudes kill it).

 Spider-Verse might be my favorite movie of the YEAR. #2 this decade behind Moonlight and all of the X-Men films. Everything about this movie is fantastic. The characters are well-drawn (emotionally and literally), the stories are engaging, and the humor, while appropriate for all ages, doesn’t include any lame juvenile shit (unlike this blog post). Folks (myself) were legit getting emotional in the theater. Looked like a screening of Capernaum in there.

 The animation was awesome. It was new and unique, making the movie feel like a comic book come to life. I think the movie had a poor box office opening because of market saturation, but it ended up grossing a respectable amount based on word of mouth and audience reception. Good! Can’t wait to see what’s next.

 I’d literally never seen anything like Spider-Verse. The animation was crazy dynamic, constantly shifting between more realistic and more cartoony depending on what the situation called for. Everything about this movie from the animation, to the music, to the voices is completely fresh and inspired.

 The Incredibles 2 seemed to take the box office by storm, and by the time I saw it a month or so later, I was a bit let down. The movie is a bit unsatisfying in originality after so many years. It’s still good! I had a lot of fun, and some of the action sequences were pretty exciting. It’s just not as good as Pixar’s best or the first Incredibles.

 No desire to see Incredibles 2. Incredibles 1 is massively overrated and all anyone wanted to talk about from part 2 is how hot the mom was. I’m good, homie.

 Isle of Dogs was really fun and charming. It was a solid Wes Anderson joint. I do wish it had more agency for some of the Asian characters, and it’s still sorta funny to me that Wes just kinda dropped in with his crew + one Asian writer for the script. But yeah, it was a really fun movie. I haven’t seen Ralph since I hadn’t gotten to the first one yet. Mirai looks like my kind of jam, but I haven’t gotten to it yet. Spiderverse all the way.

 Isle of Dogs is racist as hell! Why will no one talk about it??? I feel like I’m going INSANE

 Original Song: “All The Stars” from “Black Panther” by Kendrick Lamar, SZA “I’ll Fight” from “RBG” by Diane Warren, Jennifer Hudson “The Place Where Lost Things Go” from “Mary Poppins Returns” by Marc Shaiman, Scott Wittman “Shallow” from “A Star Is Born” by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice “When A Cowboy Trades His Spurs For Wings” from “The Ballad of Buster Scruggs” by David Rawlings and Gillian Welch

 Shallow is such a heavyweight here. That song is the classic from a soundtrack of lots of good songs. It’s perfect for their relationship in the story, and it’s the best scene in the film when she comes onstage to sing it. I hope they crush it live on stage. Get it, Bradley!

 Would’ve loved for “Why Did You Do That?” to get an ironic nomination here. Man that song was ass. “Shallow” is a good song and plays an important role in the movie, so I’m not upset at all if it wins, but yo that part where they’re just like “Sha-la-la-la-la-low” is weak as hell. Should’ve ponied up for Jason Isbell to get the late checkout time, maybe he could’ve done something there.

 Hot take: “When a Cowboy Trades His Spurs for Wings” is a MUCH better song.

 Man, the Mary Poppins’ new songs were pretty disappointing. Maybe they should have gotten Lin involved in the writing. The Buster Scruggs song is pretty goofy and funny, and All the Stars is a fun anthem.

 All the Stars is a fresh track, I wouldn’t be mad at it pulling an upset.

 Original Score: “BlacKkKlansman,” Terence Blanchard “Black Panther,” Ludwig Goransson “If Beale Street Could Talk,” Nicholas Britell “Isle of Dogs,” Alexandre Desplat “Mary Poppins Returns,” Marc Shaiman, Scott Wittman

 Feels like First Man got snubbed here bigtime. That score was really good, and it seemed like a favorite before nominations came out. I’d root for Brittell’s score. His work was beautiful in this (and in Moonlight), so a win would be cool. I generally like Desplat’s whimsy, but I don’t remember much about the score here. Black Panther’s was cool, though I feel like it was more about the songs on the soundtrack versus Ludwig’s score. Ludwig is the man though. I wouldn’t hate him getting it.

 Good point about Black Panther’s strength lying in its songs instead of the soundtrack. Really disappointed in Sicario 2 overall, but especially in its score. Sicario 1 had the hottest score of the year when it dropped, but much like everything else about Sicario 2, it didn’t deliver.

 Sound Editing: “Black Panther,” Benjamin A. Burtt, Steve Boeddeker “Bohemian Rhapsody,” John Warhurst “First Man,” Ai-Ling Lee, Mildred Iatrou Morgan “A Quiet Place,” Ethan Van der Ryn, Erik Aadahl “Roma,” Sergio Diaz, Skip Lievsay

 Sound Mixing: “Black Panther” “Bohemian Rhapsody” “First Man” “Roma” “A Star Is Born”

 This confuses me every year. Here’s a good article for the differences. Basically, sound editing awards effects (think, creating gunfire/explosion noise for a war/action movie). while  sound mixing awards the soundscape/all the sounds mixed together.

 So with that in mind… these categories seem to have less predictable winners, and I see that the sound editing leaders are currently First Man and A Quiet Place. I’d give props to First Man here, for doing work with the space exploration. A Quiet Place is interesting since it had to use its sound so effectively and specifically.

 How you gonna award A Quiet Place for its SOUND? Smh

 As for sound mixing, I really dug watching Roma in theaters. You could hear sounds, birds chirping, and it felt like you were on the street in the neighborhood of Roma.

 It’s almost like you can really *hear* the dogshit squishing between the kids’ toes on the pavement.

 Now, it appears that Gold Derby leans towards three options: A Star is Born, First Man, or Bohemian Rhapsody. I feel like BR relied a lot on pre-done recordings unrelated to filming, so I’m not sure about that one (though I suppose that’s the point of sound mixing, I dunno… look, I just don’t want it to win -- lmao same bro). A Star is Born had to deal with live music! It’s way more worthy.

 Visual Effects: “Avengers: Infinity War” “Christopher Robin” “First Man” “Ready Player One” “Solo: A Star Wars Story”

 This is easily Infinity War. Relying on Thanos as a main character meant a ton of work, and if you remember his cameos in Guardians or the Avengers post-credits, you know that he looked better here and much more fully realized. He was a mammoth, a threat, and the visual portrayal was well done. His fight against Hulk, his fight against Doctor Strange, some awesome FX. Having to weave in tons of comic characters was no easy feat too, with Falcon and War Machine fighting in the sky while Groot, Rocket, and Cap are on the ground against those bad guys.

 Avengers all the way. Having a lame-looking Thanos would’ve nuked the whole movie (people are STILL talking about Superman’s CGI shave), but they knocked it out of the park. Infinity War had to be a huge undertaking, as it’s a million superheroes pulling out all the stops for like 6 hours. Kinda surprised Black Panther didn’t get any love here for similar reasons.

 Ready Player One had a lot of fun effects too. It had to rely a lot on video game storytelling, and the adventure of it was pretty fun and well-done. Solo was fine.

 I honestly had to ruminate for like five minutes to remember if I saw Solo or not. I think “fine” is the most accurate possible description of any aspect of Solo.

 First Man was quality. I dug their comments on how there is no way they could have faked the moon landing considering how hard it is now to even try to demonstrate that in a fictional film.

 That’s what they want you to think, sheeple!!!

 Christopher Robin? Wasn’t that bear real?? What are you trying to say???

 Realest bear since the one that took Leo’s ass in The Revenant.

 Production Design: “Black Panther,” Hannah Beachler “First Man,” Nathan Crowley, Kathy Lucas “The Favourite,” Fiona Crombie, Alice Felton “Mary Poppins Returns,” John Myhre, Gordon Sim “Roma,” Eugenio Caballero, Bárbara Enrı́quez

 Costume Design: “The Ballad of Buster Scruggs,” Mary Zophres “Black Panther,” Ruth E. Carter “The Favourite,” Sandy Powell “Mary Poppins Returns,” Sandy Powell “Mary Queen of Scots,” Alexandra Byrne

 Black Panther was sick. Weaving in futuristic elements with African culture. The sets were wild. The costumes were fantastic. The Favourite did a good job doing the royal vibe too. The NASA production that they had to recreate in First Man made it feel really authentic. Same for Roma. Lots of good stuff here.

 Agreed on Black Panther for all the reasons Matt mentions, but I think you gotta go with The Favourite here. Those people looked like they STUNK. Just fucking gross all the way around -- and it was PERFECT.

 The Ballad of Buster Scruggs and Roma had great design as well. As an anthology, Buster Scruggs had the added degree of difficulty of making sure every story appeared distinct enough while maintaining the overall look and feel of the movie.

 Makeup and Hair: “Border” “Mary Queen of Scots” “Vice”

 I mean, you saw Christian Bale as Dick Cheney. Lock this up.

 Clink-clink!

 Animated Short: “Animal Behaviour,” Alison Snowden, David Fine “Bao,” Domee Shi “Late Afternoon,” Louise Bagnall “One Small Step,” Andrew Chesworth, Bobby Pontillas “Weekends,” Trevor Jimenez

 “Weekends” by Trevor Jimenez sounds like a banger of an R&B album.

 Best Documentary Short Subject: “Black Sheep,” Ed Perkins “End Game,” Rob Epstein, Jeffrey Friedman “Lifeboat,” Skye Fitzgerald “A Night at the Garden,” Marshall Curry “Period. End of Sentence.,” Rayka Zehtabchi

 Best Live Action Short Film: “Detainment,” Vincent Lambe “Fauve,” Jeremy Comte “Marguerite,” Marianne Farley “Mother,” Rodrigo Sorogoyen “Skin,” Guy Nattiv

 Bao was a fun, sweet short that had some nice Asian representation… that’s all I got.

 I’ll be watching the documentary shorts the night before the Oscars, but wanted to get this post up before then, so if you want my thoughts on those nominees, holla at ya boy.

 As for everything else? I probably agree with Matt.