Film Review: The Call of the Wild (2020)

Dir: Chris Sanders
Starring: Harrison Ford, Terry Notary, Dan Stevens, Omar Sy, Karen Gillan, and more.
Rating: PG
Runtime: 1hr 40min
Spoiler Level: Light! Book spoilers are noted.

As a self-admitted former wolf girl, one of my favorite books growing up was The Call of the Wild by Jack London. However, my introduction to the legendary tale of a dog named Buck was actually through the Great Illustrated Classics version, which are “softer” adaptations of classic novels. Much later, in high school, my love for the story was reignited when I finally read the original and was able to better appreciate the sharper edges of London’s story.

download (1)When I saw the trailer for the new film, I was skeptical – and not only because the CGI was a little sketch upon first viewing, and the rating for the film was not indicative of the novel’s contents. And yet, I felt that pull – that inner, long-dormant wolf girl instinct – to see it. So I was there on opening night, in a totally full theater, and, inevitably, I was in tears by the end.

The Call of the Wild tells the story of Buck (Notary, via motion capture), a massive St. Bernard / Scotch Collie mix who is abducted from his pampered life in California, taken to the frigid Yukon, and sold as a sled dog at the height of the 1890’s Klondike Gold Rush. Thrust into a new world much harsher than the one he’s known, Buck must adapt to life in the unrelenting north as he grapples with his wild instincts, establishes himself as a powerful leader, and forges a life-changing bond with a lonely, troubled man named John Thornton (Ford.)

Buck’s adventure is a thrilling one, as audiences watch him go from the spoiled pet of a respected judge, to a broken, lonely outcast, to a defiant and capable leader, and a stalwart, beloved companion. The supporting characters – mainly the human ones – come and go from his life at various intervals, and each teaches Buck unique lessons. He learns the “law of the club,” from his captors, teamwork and duty from postal workers Francois and Perrault, folly and greed from Hal, Mercedes, and Charles, and asserting dominance from his husky rival Spitz, who, I realized upon watching, is literally Steel from Balto. But amidst these lessons are over-arcing themes, many of which are rooted in London’s original novel, such as the brutality of nature, grief and loss, and survival against the odds. And, of course, there are familiar cliches and predictable moments, but it’s a family film, so that’s no surprise.

This film truly shines when it features Buck’s growing relationship with John Thornton – the most notable and important friendship that Buck forms. Buoyed by an evocative performance by Harrison Ford, it is clear from the first harmonica exchange that the bond between grizzled man and dog is going to be special. Thornton and Buck come together at a vital stage in each of their respective journeys, at the exact time when they need one another the most, as Thornton is inspired by Buck’s resilient spirit, and Buck is drawn in by Thornton’s genuine kindness and companionship. Watching their stories combine, and seeing their love for one another grow, is peak “man and his dog” goodness and delivers, if I may, “all the feels.” I didn’t think Harrison Ford and a CGI dog would pull on my heartstrings as much as it did, but boy, it did.

I felt the tears spilling down my cheeks as the film drew to a close – against my expectations, I had formed an attachment to the characters in the film, boosted by my already existing love for the story. The finale, the vital moment where Buck answers that call and embraces the instincts that have been subtly guiding him toward his ultimate journey’s end, is wholly satisfying, if bittersweet.

The visual effects for the dogs are a little cartoony – as is Dan Stevens as the mustachioed, villainous Hal, who also entirely shoulders the villain role in the stead of minor novel characters, but that’s not the fault of effects – which will certainly bother some viewers. I appreciated Buck’s overall “look,” as he didn’t look like a wolf, which is the erroneous direction other adaptations have taken. I didn’t find myself distracted by the effects too much, as I was fully engaged in the story, and impressed by the beautiful environments and backdrops. But I also sat through the entirety of Cats, so take from that what you will. Additionally, the score by John Powell is exceptional and is already on my playlist.

Fans of Jack London’s original work will, of course, note the obvious omissions from the source material. This film is not what I would call a “faithful” adaptation. Much of the violence – and the brutal, if realistic view of “survival of the fittest” – has been toned down, likely to appeal to families and younger audiences. Not to spoil a 100+ year old story, but particularly grisly elements (***SPOILER ALERT*** such as Buck killing Spitz, Francois taking an ax to a rabid dog’s head, an entire team of sled dogs drowning after falling under breaking ice, and a negative representation of Native Americans ***END SPOILER***) are either completely absent, or have been “softened” to suit a PG rating. And while I love London’s stark portrayal of the life of a dog in the cold, cold north, and I respect the era in which it was written, I personally didn’t mind the changes in this version. Many of the original themes – nature versus nurture, the enduring relationship between man and dog, and the pull of primordial instincts, etc. – remain important touchstones to the story, even if they are shown in a different way.

Sometimes, The Great Illustrated Classics version of a story – or the PG film version – can open the gateway for a young reader or film-watcher to someday experience the original work, and glean an entirely separate appreciation from it when the time comes. For that reason, this tamer version of The Call of the Wild has earned my full admiration.

Overall rating: 8/10

My Week in Movies

So my internet is terrible and I had to write all of this on my phone, please excuse any typos. But this week I managed to get to the theater four times, so I thought I’d post some mini reviews…

Avengers: Endgame (Reissue): The sequel to last year’s massive Marvel hit Infinity War and the end of a cibematic era was reissued last weekend with some bonus features tacked onto the end, including a wonderful Stan Lee tribute. I also got an awesome free poster to add to my collection. It’s worth seeing if you’re a die-hard fan or have only seen Endgame once or twice, but if you miss out, it’s not the end of the world… or the game, I guess. I had only seen it once, on premiere night, so I was happy to watch again.

Yesterday: A quirky rom-com set in a world where a massive electrical surge inexplicably causes the entire world (save a select few) to forget about the Beatles, thus launching down-on-his-luck singer Jack Malick to international fame as he performs their iconic songs as his own. This film offers up a few surprises and makes a unique spin on a genre that’s been explored a thousand times, and the two leads (Himesh Patel and Lily James) deliver performances full of charm and humor. Totally worth seeing if you’re a music fan or a rom-com fan or both, even though it is hard to imagine a world where the Beatles never existed. And thanks to Himesh Patel, I have a new addition to my celebrity crush list…

Spider-Man: Far From Home: Just as Ant-Man and the Wasp was the perfect follow up to Infinity War, this filn is a great follow up to the dramatic and emotionally-heavy Endgame. Tom Holland continues to prove himself worthy of the role of the famous web-slinger as he grapples both teen angst and personal doubt in the wake of losing his mentor, Tony Stark. The boy just wants a a European vacation – and to impress MJ, of course – but the appearance of Mysterio (an excellent Jake Gyllenhaal) and some otherwordly threats throw a wrench in his plans. It’s hard to be a teen super hero, but our beloved Peter Parker is a joy to watch as he fights with bad guys and feelings. I don’t want to toss out spoilers, but this movie also has BOMBSHELL post credits scenes that will make your jaw drop. Loved it, loved it, loved it.

Midsommar: Ari Aster’s feature film debut Hereditary made a big splash last year and made it on my personal top 10 list for 2018. This folk-horror outing – in which a young woman recovering from tragedy, her distant boyfriend, and their friends travel to a secluded Swedish commune for a festival – is similar in tone to Hereditary, as it is a slow (maybe, at two hours and 27 minutes, a bit too slow) burn to an explosive conclusion and has creepy twists that will keep the viewer on the edge of their seats. Florence Pugh is fantastic, the cinematography and direction are stunning, and the film is easily set apart from other films in the genre that rely on cheap scares and gimmicks. Aster’s “artsy-horror” style won’t be for everyone, but I look forward to seeing even more in the future.

Film Review: Avengers: Endgame (2019)

Dir: Russo Bros
Starring: Everyone, really.
Runtime: 3hr1min
Rating: PG-13
Spoiler level: Light (ANY MAJOR SPOILERS WILL BE BELOW A CUT)

20190425_172726_HDR.jpgAt last, the moment Marvel fans have been waiting for is finally upon us – the hotly-anticipated sequel to 2018’s Avengers: Infinity War and the culmination of a 22-film saga that began with 2008’s Iron Man has been released for eager audiences to devour. Avengers: Endgame is an epic three-hour adventure that offers an explosive, entertaining, and emotional ending to  the first major chapter of a steadily expanding film universe.

Avengers: Endgame follows the remaining non-dusty Avengers in the post-Snap world as they come to terms with Thanos’s actions and seek to inject hope into their seemingly-dismal circumstances.

There were several things that Endgame needed to accomplish on the heels of the dramatic Infinity War, and hundreds of dangling threads to tie together from multiple movies in the franchise. I don’t know how the Russo brothers, the writers, and everyone who works on these films does it, but somehow, some way, they managed to balance out fan-service, humor, heart, action, a balanced narrative, and a multitude of characters and their interactions in a huge film universe to create a thrilling and satisfying conclusion. Sure, some folks can probably nitpick and find a stone or two left un-turned, but of all the factors fans expected this film the deliver, the most important is probably closure. And though certain fans may disagree with how certain events played out, this film felt complete when the credits began to roll.

Of course, the core of the Avengers are the original squad, with RDJ as Iron Man / Tony Stark, Chris Evans as Captain America / Steve Rogers, Chris Hemsworth as Thor, Mark Ruffalo as Hulk / Bruce Banner, Scarlett Johansson as Black Widow / Natasha Romanoff, and Jeremy Renner as Hawkeye / Clint Barton. They’ve been with us the longest, have fought the most battles, and have established themselves as characters who are important to fans, and have had a lasting impact on audiences. Appropriately, much of the spotlight centers on them this time around – not entirely on them, because there are a lot of characters to give screen-time to, but primarily on them – and it gives each a chance to show how far their characters have come since their initial appearances. And by the end, each of their journeys feels finished, their arcs complete, their characters fully-developed.

Endgame delivers the usual Marvel staples – witty banter and memorable quotes, bombastic fight scenes and action sequences, stunning visuals, and throwbacks to prior films and other Marvel lore. It’s all too easy for MCU films to rely on hallmarks and a successful formula – I mean, if it works, it works – but even 22 films deep, this installment offers up twists and surprises. Some familiar, but perhaps unexpected faces show up. Some plot points seem predictable, but take jarring detours. Even the expected events are engrossing. It didn’t feel like I was sitting in a movie theater seat for three hours, and not once did I think, “Is it over yet?” I laughed, I sat in open-mouthed shock, and yes… there were tears. And when it was over, the fan in me was so happy to have been along for the entire ride, and I’m excited to see where the MCU goes next.

For a film series that has been churning out successful film after successful film, barreling forward and building momentum since 2008, Endgame offers a finale that is sure to keep audiences engaged from start to finish. The MCU has experienced some bumps in the road and has battled through fatigue in order to keep viewers in their seats, but they have also proven the merit of superhero films time and time again, and when it matters most, they deliver the closure that the Infinity Saga needs.

Overall rating: 10/10

***********UNDER THIS ARE THE SPOILERS, BEWARE, STOP READING IF YOU DON’T WANT SPOILERS!!!!! THERE IS A READ MORE THING UNDER THIS BUT I KNOW IT SOMETIMES DOESN’T WORK, SO HERE IS YOUR WARNING!!!!!*************

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Film Review: Dumbo (2019)

Dir: Tim Burton
Starring: Colin Farrell, Michael Keaton, Danny DeVito, Eva Green, Alan Arkin, etc.
Runtime: 1hr52min
Rating: PG
Spoiler level: Light

When I first heard that Disney planned to put out a live-action version of the 1941 animated film Dumbo, I – and many others – had reservations. The original Dumbo is a classic, revered for the emotional impact it had on audiences, even though it tells a simple story. However, the addition of Tim Burton as director boosted my hopes, and when I saw the first trailer, featuring Aurora’s haunting rendition of “Baby Mine,” I knew I was going to see it.

In the 2019 remake of Disney’s classic, visionary director Tim Burton re-imagines the beloved big-eared flying pachyderm in his distinct, signature style while retaining the charm of the original and expanding upon powerful themes, though an occasionally wooden screenplay does diminish the film’s “mystique.”

Dumbo_(2019_film)Per usual for Burton’s work, a major strength of the film is the visuals. Brilliant color schemes and gorgeous, intricate sets help create an atmosphere of magic and awe for the circus scenes, and Dumbo himself – though he shares the spotlight with a variety of new characters created for the film – is adorable, with his massive ears and happy squeaks. Though he never speaks, his emotions are clear in his eyes and his expressions and he carries the heart of the film as he soars to the furthest reaches of a star-speckled tent. Frequent Burton collaborator Danny Elfman also offers up an incredible score that helps generate a sense of wonder and play homage to themes from the original.

If you’ve never seen the original Dumbo, you were spared the trauma of particularly heartbreaking scenes – which are recreated in this film, and are similarly wrenching. The inclusion of the classic “Baby Mine,” sung by Miss Atlantis (Sharon Rooney,) certainly tugs on the ol’ heartstrings, and Dumbo’s sorrow radiates off the screen in a way that will probably scar a whole new generation of children.

The cast is spectacular – Farrell as veteran Holt Farrier, a widowed, one-armed father of two bright children and Green’s acrobatic Colette, “Goddess of the Heavens”, are standouts, as are the supporting circus acts and DeVito’s Max Medici, owner of the circus. Keaton is excellent as the smarmy, deviously debonair villain, V.A. Vandemere, and the kids, Milly (Nico Parker) and Joe (Finley Hobbins) shine as they support Dumbo, teaching him that his ears can be a blessing rather than a hindrance.

The narrative strives to expand upon the simplicity of the original by introducing new ideas into a basic and straightforward story – and, at times, it shines. Messages about being true to yourself, not letting fear stop you from flying after your dreams, accepting your flaws, etc, are conveyed in a meaningful manner that will hopefully resonate with young audiences. Milly is a logically-minded young heroine who provides a scientific approach to Dumbo’s abilities, and the supporting circus characters all band together to create a compelling idea of a family that is “made,” two ideas that were not present in the original. But, at the core, it’s still a film about an elephant that can fly, which doesn’t get lost in the flurry of new plot-lines. In fact, in the original, Dumbo doesn’t fly until near the end of the film – but viewers don’t have to wait that long this time around.

Also – for those wondering – Burton’s version (obviously) omits the controversial crow characters, “Song of the Roustabouts,” and takes a firmer stance on the treatment of circus animals – all elements of the original film that are, in retrospect, uncomfortable to watch. So, if nothing else, 2019’s Dumbo does offer some much-needed, modern updates.

Obviously, the original Dumbo, with a paltry run-time of 64 minutes, told a story without frills and superfluity. But the 2019 version manages to maintain the core message while introducing new characters and ideas, and Burton achieves a balance that, for the most part, is solid. It doesn’t try to outshine the original, and distances itself enough to avoid unflattering comparisons about which version did what better. However, the dialogue is occasionally clunky, with unnecessary explanations that bog down the film. Many obvious lines could have easily been removed, as they were inferred by a previous thought, or expressed clearly in the character’s visible emotions. With a cleaner, sharper script, the film would have run much smoother – but regardless, it’s still a charming and whimsical ride, and a pleasure to watch.

Of all the Disney films Tim Burton could have re-imagined, the tale of Dumbo, the flying elephant, was a perfect fit for his skills and his vision. It might not have the same simple magic of the 1941 classic, but instead creates it’s own spectacle, with a patchwork crew of misfit characters that all band together around an adorable, beloved, big-eared hero.

 

 Overall rating: 8/10

One Shot #4: Babe (1995)

There is nothing like a good, wholesome film; the kind you can pop in and watch at anytime, but are perhaps best on a rainy afternoon, when you can curl up on the couch with a warm blanket and a cup of coffee, or tea, or hot cocoa. A film that warms the heart and touches the soul. And one such film is a 1995 Best Picture nominee, Babe – the wonderful tale of a sheep-herding pig who defies the incredible odds stacked against him.

The single shot that encompasses the film happens in the final sequence, shortly before the iconic “That’ll do, Pig. That’ll do,” line:

babe

As much as this film is about a sweet-natured pig who just wants to belong, it’s also about his owner – a taciturn man named Arthur Hoggett, played by James Cromwell. The relationship between the two evolves over the course of the narrative, from a standard man/pig dynamic of “owner” and “owned” to an unlikely team working together for a common goal. This shot is the epitome of their bond – after a rousing success at a competition, silencing their naysayers, man and pig stand side by side, basking in the applause. But who garners the most credit? Babe, of course; which is why the shot is centered mainly on him, and only Hoggett’s legs are shown. Babe is our unlikely, curly-tailed hero, the one who deserves the focus. Yet, the framing of the shot still gives the impression that they are a steadfast team.

I mean… just look at that face. Babe is iconic. An absolute legend. If he were a morning, he’d be golden and new. This is one of the few movies I can watch over, and over, and over again and still get emotional. It is just a classic, well-done, and well-made movie, and if you haven’t seen it, you absolutely should.

 

Film Review: Captain Marvel (2019)

Dir: Anna Boden, Ryan Fleck
Starring: Brie Larson, Samuel L. Jackson, Jude Law, Annette Bening, Ben Mendelsohn, Lee Pace, Djimon Hounsou, Gemma Chan, etc.
Runtime: 2hr4min
Rating: PG-13
Spoiler level: Anything major will be marked under a ‘Read more’!

Captain Marvel, the latest origin story in the extensive Marvel Cinematic Universe, follows the titular heroine (Larson) in the pre-Thanos snap world as she confronts her mysterious past and attempts to save countless lives from a danger that threatens more than one world.

Captain_Marvel_poster.jpg

The last few Marvel films we’ve gotten – Thor: Ragnarok, Black Panther, Avengers: Infinity War, and Ant-Man and the Wasp – have all subverted genre tropes in an effort to stave off fatigue and prevent audiences from getting bored. Following these films, while also being the prelude to the hotly-anticipated Avengers: Endgame, is no easy feat, and makes it difficult to impress the folks who expect these films to keep getting bigger and better. Captain Marvel treads familiar ground and largely sticks to a known formula, but offers up a couple of surprises and manages to give a fresh, 90’s-infused twist to the standard superhero origin story as we are introduced to the fearless heroine who might hold the future of the Avengers in her fire-shootin’ hands.

This film starts off a little slow, in large part thanks to some info-dumping that drags the opening out a bit – but it levels out once the focus is centered on “Vers,” as our butt-kicking former pilot and current badass is known. It might be tough for some audience members to connect with Captain Marvel at first, since her introduction comes a few weeks before the most anticipated film in the MCU’s history, and this installment takes us back to an era before Nick Fury’s eyepatch instead of moving the overall narrative ahead. It does reference other Marvel films, but thankfully avoids obnoxious fan-service levels of pandering. The frequent 90’s references, nods to a bygone era that fans my age know so well from our own childhoods, do start to feel a little tired at times. Blockbuster and slow loading screens were a nice touch and hit some comedic notes, but once I saw Troll dolls and a Koosh ball, it got old.

Larson plays the role of Carol with an affable charm, tossing out jokes in the heat of battle one moment, then slamming enemies into walls with her photon rays the next. But there’s also a softness to her, especially when it comes to her lost past; she may be a great fighter, but she has demons to face, though she manages to avoid drowning in the same angst that many an Avenger has succumbed to. Her personality slides easily into a rapport with a young Nick Fury, played by Samuel L. Jackson, as the two team up to keep power from falling into the hands of a dangerous foe. The de-aging used on the actors (both Jackson and Clark Gregg) in order to make them fit into the timeline isn’t a major distraction except for a couple of dodgy moments, which is a credit to both the makeup and special effects teams. The cast overall is great, both lead and supporting – and a couple of familiar faces pop up, who viewers might not have expected to see.

The narrative hits familiar beats – a hero struggling with her identity, a villain who seeks retribution, intergalactic battles, blue people, you know, the usual standard fare – but just when it seems that it’s going to be the same-old, same-old, a wrench gets thrown into the mix that makes the story veer off onto a new track. The fight scenes are cool, the drama compelling, and the pacing smooths out after the first half hour or so. So while there might be some turbulence at the start of the film, it doesn’t last long, and Captain Marvel transforms into a thrilling ride that aims to add another vital piece to the puzzle that is the MCU.

As a female who has seen just about every Marvel film on premiere night since 2010, and who wrote one of her film class final papers on Black Widow in The Avengers – I don’t think I’ll ever get tired of seeing a strong woman kick ass on the silver screen. And Brie Larson’s Captain Marvel can duke it out with the best of them. All that remains is to see what part she plays in the upcoming Avengers: Endgame – and I’m confident she will be a shining torch of hope for the future of the MCU.

Overall rating: 8/10

SPOILERS BELOW, BEWARE!

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Oscars Reaction 2019!

I missed the red carpet because of work and I am PISSED. I love seeing all the snazzy suits and dresses. But at least I am not missing the actual show.

We will see how this host-less show goes. I actually liked Kimmel the last two years, but other recent hosts have totally flopped, so maybe this is the way to go. I am hopeful.

QUEEEEEEN

Javier Bardem rocking out to Queen is iconic.

Adam Lambert is so great. He isn’t trying to be a Freddie Mercury clone, he gives Queen his own spin.

Well done, boys.

Rachel Weisz NOOOOOO what are you wearing????

I love a good montage. It brings all the feels.

What a goddamn great trio these 3 are.

C’mon Rachel…or Amy. Or Emma. Or any of them, really.

Chris Evans is a GENTLEMAN.

I wish I had seen If Beale Street Could Talk. It never played in my neck of the woods, but Regina King is great in everything, so this is no surprise. And she is GORGEOUS in that dress!!!

I LOVE JASON MOMOA’S SUIT.

I am betting on Free Solo, only because They Shall Not Grow Old missed the deadline.

I will NEVER watch this doc. Heights are a no-no for me.

“Open the pod bay doors, Hal.” I LOVE IT.

These commercials are killing it so far.

ELSIE!!!!

Basically, you just need to turn a white dude into a fatter, older white dude and you’ll win an Oscar! But seriously, well done.

Does no one practice their speeches? I know they’re nervoua but either elect one person to speak or keep it short, folks.

OH MY GOD THE BUNNIES. THE PUPPET. I AM GASPING.

BEST DUO OF THE NIGHT.

Yayayayayayay!!!! WAKANDA FOREVER!!!

Chadwick looks so sharp!!!

Jlo. Oh my god. And Chris Evans looks so good in blue.

WAKANDA FOREVER!!! AGAIN!!! It was a gorgeous film. Well deserved!

My uncle is apparently working on a set for a Tyler Perry production. But he doesn’t know who Tyler Perry is, lol.

Alfonso!!! Looks like the Roma train is rolling. He is so well spoken.

Emilia’s dress is BEAUTIFUL.

Jennifer Hudson can sing the ingredients of a shampoo bottle and make it sound like an opera.

Why are ruffles in this year? They should never be in. Ever.

Serena!!! She is stunning!

I’m thinking First Man or A Quiet Place here. Sound editing is a tough call… Or Bohemian Rhapsody! Gratz to them.

I maintain it should be First Man, but whatever… I am not doing well with my predictions, lol.

Well done keeping the speeches short. And I am digging the no host. We’re an hour in and have hit a ton of awards!

I just really loved The Favourite and it needs to win SOMETHING.

I am betting on Roma for foreign language… And it is! Alfonso does a great job keeping his speeches succinct and relevant. Especially since he has to go up multiple times.

Keegan Michael Poppins!!!

Oh Bette Midler. What a fantastic choice for the Poppins song. She is magic!

Laura Dern WHO WEARS BROWN TO THE OSCARS???

At least Michael Keaton isn’t chewing gum.

No love for Vice’s incredible editing? Ok. Sure Jan.

Oooooh hello Mr. Bond!

Will Mahershala take it home??? I secretly want Sam Elliott just because he’s Sam Elliott. But Mahershala is easily the best performance in a sea of greats and he’s now 2/2!

Pharrell, that outfit is dreadful. But Michelle Yeoh is stunning as always!

I am betting on Spiderverse, but secretly pulling for Isle of Dogs.

The fact that I have not seen Spiderverse yet is a crime and I AM SORRY I am usually not into the whole “other dimension” idea so I have put off watching, but I WILL SEE IT.

KACEY MUSGRAVES THAT DRESS IS HIDEOUS.

Um. This cowboy song is gorgeous. I missed out on Buster Scruggs too, but it’s in my queue.

Wayne’s World!

Mulaney’s suit jacket is a winner.

BAO!!!!!!!!

I am glad that I live in an era where a documentary short about menstrual rights has won an Oscar.

Oh, visual effects… Infinity War’s only chance!

POOH MUST WIN. POOH MUST WIN. GIVE POOH AN OSCAR FOR THE LOVE OF HONEY.

Oh, well… at least First Man won something! A severely underrated film.

IT’S TIME. They need no introduction.

BRADLEY!!!!!!!! He’s so nervous, bless him.

GAGA!!!!!!! She is just… incredible.

Beautiful. Absolutely beautiful. If there were a best onscreen couple Oscar, they would have wrecked the competition.

At least Detainment didn’t win. Despicable.

C’mon Favourite… Don’t get shut out!!!

A deserved win for a poignant script for Green Book. But… MY FAVOURITE. I am so sad it’s getting no love.

C’mon BlackKklansman….

YESSSSSSSS!!! Fantastic win for a brilliant screenplay! Getting at least 1 Spike Lee speech makes the night worth it.

Happy for Ludwig!!!! Sad Terence Blanchard didn’t win but all of the scores were incredible.

If Shallow doesn’t win I’ll eat my hat.

Well, I don’t have a hat, but I don’t need it! A just victory for Gaga and co!!!

I am still, like… Horrified that The Favourite is empty-handed. This is INJUSTICE.

Oh no the In Memoriam. I cry. 😢

Richard E. Grant fangirling over Barbara Streisand is a MOOD. And we love a Spike Lee and Barbara Streisand moment.

Bale or Malek? Or a sneaky Cooper? Even a surprise Viggo or Defoe?

I mean… I’m stunned that I live in a world where BoRap wins 4 Oscars and The Favourite doesn’t win any, but Rami deserves the honor 1000000%!!! His performance was the beating heart of that movie. You could call this moment from the trailer.

I assume it will be Glenn, but I want a Colman win so The Favourite doesn’t go home empty-handed.

YES YES YES!!!!!! OLIVIA COLMAN!!!! She gives the best speeches and is just a genuine delight. I also love her dress.

Can Olivia Colman and Frances McDormand PLEASE team up for a movie. It is all I ask.

I am guessing Alfonso will take this…. Aaaaaand… Yes! 👍 What a deserved win. He has incredible vision. If he, Guillermo, and Alejandro ever team up and combine their powers they could conquer the cinematic world.

I also vote we never have another Oscars host again. This is GREAT.

Will Roma take it home?

Um….. What?

That’s…. surprising.

I mean….ok.

My crystal ball was cloudy this year, I guess. 🔮

Probably shouldn’t award a film with significant and legitimate controversy the ultimate honor, but… ok. I even liked the movie and don’t think it should have won, but…ok.

…ok.

Edit, 2/25: I still cannot believe I live in a world where Green Book wins Best Picture, BoRap wins the most Oscars of the night, The Favourite only gets 1 win, and Roma only gets 3. Let’s hope the Academy does better next year.