|THE IRISHMANBEST FILMTHE BESTIRISHMANREVIEW|
Meanwhile six-time nominee 'Little Women' only won one award, for costume design, in an awards ceremony that featured numerous onstage comments praising the work of female directors.
The 2020 Oscars marked another disappointing awards ceremony for the team behind Netflix's Martin Scorsese-directed mob drama, The Irishman. After being shut out at the Golden Globes and Screen Actors Guild Awards, the epic, decade-spanning and decade-in-the-making story starring Robert De Niro and Oscar nominees Al Pacino and Joe Pesci failed to win any of the 10 Oscars for which it was nominated.
Still, Scorsese got a few shout-outs from the stage, with Chris Rock and Steve Martin mentioning the film and the director in their monologue and best director winner Bong Joon Ho taking a minute to note how, as an aspiring director, he was particularly inspired by Scorsese, comments that prompted the Academy Awards audience to give Scorsese a standing ovation.
Meanwhile, other top nominees had a relatively disappointing night, with six-time nominees Jojo Rabbit, Marriage Story and Little Women only taking home one award each. Little Women's prize was arguably the lowest profile award of those one by Jojo Rabbit and Marriage Story, only taking home the prize for best costume design. It's poor showing was somewhat ironic given that a theme throughout the show was praising the work of female directors, like Little Women helmer Greta Gerwig, despite the fact that none were nominated for best director again this year. Jojo Rabbit won best adapted screenplay while Marriage Story's Laura Dern won the best supporting actress award she was expected to take home
While Once Upon A Time in Hollywood won two awards, for production design and best supporting actor Brad Pitt, writer-director-producer Quentin Tarantino didn't win any of the awards for which he was nominated including high-profile prizes best original screenplay, best director and best picture.
Similarly, 11-time nominee Joker only won two awards, for best score and best actor Joaquin Phoenix, high-profile victories but a significant drop, numbers-wise, from its leading spot among nominated films.
Also while Parasite was predicted to do well at the 2020 Oscars, with the best picture race shaping up as a battle between the Bong Joon Ho film and Sam Mendes' 1917, many pundits expected 1917 to win best picture or for Mendes to win best director, if not both, particularly after 1917 won the top prizes at the BAFTA Awards last week, in the middle of Oscar voting, after winning the top prizes at the DGA Awards and PGA Awards. And while 1917 won three awards, all were in technical categories.
Other multiple Oscar nominees that were shut out included Harriet and The Two Popes.
Source: Hollywood Reporter
One attends a festival in hopes of finding a film that leaves you giddy with how good it is, seeking always for that thrill gained from a sense of discovery, uncovering that gem before it gets to be seen by a larger group of people. It’s almost like a drug, where you take hit after hit of cinema just waiting for one to fully give you that rush.
This is one of those movies you spend days and days just hoping to uncover.
Boys State follows a bunch of high-strung Texan teens as they head to the Capitol in Austin to engage in political machinations. For decades the American Legion has sponsored “Boys State” events ostensibly in order to improve education in civics. A kind of summer camp for political junkies, this week-long event begins with the 1200 or so kids divvied up into separate parties – the Nationalists and the Federalists – and then tasked with picking party leadership, defining a platform, passing bills and, above all, electing a governor that represents the entire group.
Superficially Boys State plays as a conventional film about a grand event, not dissimilar to reality TV that follows a few key characters out of the myriad that attend the event. Jesse Moss whose 2014 Sundance film The Overnighters is one of the greatest non-fiction films ever made and co-director Amanda McBaine pitch most of the film on the shoulders of four participants, with the result being a simply astonishingly powerful and nuanced look at the machinations of politics.
We first meet Steven wearing a Beto O’Rourke shirt and explaining his parents are not at the bus stop to drop him off as they’re at work. We learn he got into politics thanks to Bernie Sanders, and has spent time campaigning against gun violence. Then there’s Robert, a square jawed dude-bro straight out of the John Hughes playbook, looking exactly the kind of kind that would roughhouse his way down the alleys of lockers at his high school.
René is a pursed lipped, extremely eloquent thinker whose personal views are far more to the left than the majority of participants. Through political savviness he tacks towards the centrist position and manages through some extremely effective speech skills to help move others to be under his sway, even if he earns some enemies on the way.
Then there’s Ben, perhaps the most Shakespearean of the group. Despite a physical disability, he’s as manipulative as anyone in the group. It’s easy to find comparisons between Ben and the likes of Stephen Miller, and while one may not share his ideology it’s hard not to respect his skills and determination.
The four represent various facets of a multitude of positions, most of them coming across as immature and underbaked as the rowdy group of young adults test the limits of their freedom, while others display a maturity far more...
Last Updated: April 6th
A good gangster movie must do two things: Make us want to live a life of crime and, at the same time, make us grateful we haven't indulged our dark sides like the characters on this list. Most gangster films make the criminal underworld look like a hell of a good time. There's booze, money, women, expensive cars, everything we're taught we should want, but the lavish lifestyle often comes with a price, which means a good gangster movie must also show us the downside of running a criminal empire: The violence, the bloodshed, and the very real threat of prison time. As they say, you can't have your cake and eat it too — but no one told that to the characters in these films.
Here are the 10 most enjoyable films currently streaming on Netflix.
Related: The Best Crime Movies On Netflix Right NowNetflix The Irishman 2019
Run Time: 209 min | IMDb: 8.7/10
Martin Scorsese delivers another cinematic triumph, this time for Netflix and with the help of some familiar faces. Robert De Niro and Al Pacino team up again for this crime drama based on actual events. De Niro plays Frank Sheeran a World War II vet who finds work as a hitman for the mob. Pacino plays notorious Teamster Jimmy Hoffa, a man who frequently found himself on the wrong side of the law and the criminals he worked with. The film charts the pair's partnership over the years while injecting some historical milestones for context. It's heavy and impressively cast and everything you'd expect a Scorsese passion-project to be.A24 A Most Violent Year 2014
Run Time: 125 min | IMDb: 7/10
Jessica Chastain and Oscar Isaac play a husband-wife duo caught up in the criminal underground in this darkly-lit drama. Isaac plays Abel Morales, an immigrant and aspiring business owner who finds himself the target of ruthless competitors when he takes steps to secure a facility to transport oil throughout the boroughs. Chastain plays his wife Anna, a shrewd businesswoman in her own right who comes from a mobster family. The two fights against a determined D.A. and corrupt criminals in order to secure the money they need to purchase the land, but in doing so, they become the enemy they've been fighting against. It's a heavy, morose kind of film, filled with violence and shady back-door dealings, but Chastain and Isaac bring a bit of brilliance to it all.Netflix Imperial Dreams 2014
Run Time: 87 min | IMDb: 6.8/10
John Boyega stars in this stirring drama about a recently released convict caught up in the terrible cycle that people often face after prison. Boyega plays Bambi, a 21-year-old who gets a taste of freedom after spending time behind bars for some kind of crime involving a weapon. Bambi's determined to live right and do right by...
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...