The Official Review Thread of 2020

[anonymous1980]

FIRST COW
Cast: John Magaro, Orion Lee, Toby Jones, Ewen Bremner, Gary Farmer, Scott Shepherd, Lily Gladstone, Alia Shawkat.
Dir: Kelly Reichardt.

It's 1820. A cook who was traveling with a group of fur trappers befriends a Chinese immigrant and together they come up with a business plan but it involves filching milk from the cow of a powerful landowner. It took me a long time to finally get around to this but I'm glad I finally did. It is one of the best films of the year. I've really grown to be a fan of writer-director Kelly Reichardt's work. She has this real talent of immersing you into the world she has created and takes you on a ride in ways that can often be surprising. This is no different. This is a beautifully shot, beautifully acted film which tells a story of friendship, perseverance and the pursuit of the American dream but in a way which throws cold water on that concept. I hope this gets more awards recognition.

Oscar Prospects: I hope this gets in Cinematography and Adapted Screenplay at least.

Grade: A-

[dws1982]

The United States vs. Billie Holiday
A mess: One of those movies that should've been cut to ninety minutes to focus on one thing (a movie laser-focused on the drama around Holiday singing "Strange Fruit" in its entirety would've been much more compelling), or expanded to miniseries length to go into the kind of detail that Holiday's life needs. Andra Day and Billie Holiday both deserve better than what this film gives them. Comparisons to Judy and Zellweger's performance in it are probably inevitible, and like Zellweger, there's a genuine brokenness and lost-ness in her performance. Unlike Zellweger, who was mostly just surrounded by a bland film, Day is surrounded by a pretty crass and actively bad one. Good taste is not something you ever expect in Lee Daniels' films, and you don't get it here; a lot of it is just bizarre--especially Leslie Jordan as a fictional (transgender?) interviewer, and his voice is identical to Margo Martindale in Million Dollar Baby. Not good, really just for Oscar completists, but I do hope to see Day in a movie that is more deserving of her talents, because she is good.

[anonymous1980]

THE MAURITANIAN
Cast: Tahar Rahim, Jodie Foster, Benedict Cumberbatch, Shaleine Woodley, Zachary Levi, Saamer Usmani.
Dir: Kevin Macdonald.

Based on the true story of Mohamedou Ould Salahi, a suspected terrorist who was tortured and detained for 14 years in Guantanamo Bay despite not being formally charged with a crime or not having any strong evidence against him. This is a legal procedural thriller, basically. It's a film that hits all the right notes but does not really elevate or do anything special with it. It's a film that makes you angry because it's right. Even though you may have an idea on how it ends, you're glued to your seat because of the performances of both Tahar Rahim and Jodie Foster who are both outstanding. It's a solid enough film but it's like a really good HBO cable film from the 1990's.

Oscar Prospects: Tahar Rahim and Jodie Foster are good contenders.

Grade: B.

PINOCCHIO
Cast: Roberto Benigni, Federico Ielapi, Rocco Papaleo, Massimo Ceccherini, Marine Vacth, Gigi Proietti.
Dir: Matteo Garrone.

This is the first of no less than THREE film versions of Pinocchio that's gonna be released in the next few years (the others being Guillermo del Toro's stop-motion animation version and Disney's live-action remake of its own version). This features Roberto Benigni almost doing penance for his critically lambasted version that ruined his mainstream Hollywood career back in 2000, this time playing Geppetto to Federico Ielapi's Pinocchio. This is Matteo Garrone's version and even though it's not R-rated, it bears closer resemblance to his Tale of Tales than any kid-friendlier version of the story out there. So it's darker and a bit more slower paced than many kids are used to. As a visual feast, it is truly something to see. The choice to use makeup and animatronics with minimal CGI is a breath of fresh air. It will not replace the Disney version in some people's hearts but those in the mood for something darker, this is a welcome version.

Oscar Prospects: A strong contender for Makeup but also deserves some Production Design and Costume Design nominations as well.

Grade: B.

[Mister Tee]

I bet Mister Tee walked to a theater, put on a mask, and sat through the entire movie for cinema. Bless him.

Would love to have, but I only got my second shot yesterday. (And, ooh, do I feel punk. First shot was nothing; this one knocked me out.)

Two weeks from now, I'm hoping to see at least Nomadland and Minari on the big screen.

As for how I saw The Father, let's say I have a few friends in high places who don't mind risking their Guild privileges.

As to Olivia Colman -- I think she's a bit like Jennifer Lawrence/American Hustle. All things being equal, she'd be a perfectly solid choice, but anyone who's just been a winner has to be a bit more special, and I don't think she rises quite to that level.

Like many, I've thought Seyfried was the logical choice, but there seems to be no giant enthusiasm for her. This race is beginning to remind of either 1992 or 2007, where there were different winners almost everywhere, and the winner was anybody's guess.

[Sabin]

mlrg wrote
Last time I went to a movie theater was in November to see Nomadland. Movie theater capacity was reduced to 50%, but it was packed.

Well then bless you too, sir!

[mlrg]

I bet Mister Tee walked to a theater, put on a mask, and sat through the entire movie for cinema. Bless him.

Last time I went to a movie theater was in November to see Nomadland. Movie theater capacity was reduced to 50%, but it was packed.

[Sabin]

I bet Mister Tee walked to a theater, put on a mask, and sat through the entire movie for cinema. Bless him.

[Big Magilla]

From Decider.com:

The Father will be available to stream via premium on demand (PVOD) on Friday, March 26.

[Okri]

Is The Father available on any streaming services?

No. iTunes doesn’t even have a placeholder for it, so I don’t know when it can be rented.

I know all that matters is that AMPAS members can see it, but how strong can the prospects be for a film that practically doesn’t exist yet?

I feel like this is the one year where that question just might not be relevant.

[MaxWilder]

Is The Father available on any streaming services?

No. iTunes doesn’t even have a placeholder for it, so I don’t know when it can be rented.

I know all that matters is that AMPAS members can see it, but how strong can the prospects be for a film that practically doesn’t exist yet?

[flipp525]

Is The Father available on any streaming services?

[Sabin]

I'm looking forward to this film.

Mister Tee wrote
And Olivia Colman, is, not unexpectedly, terrific. I've actually been disappointed in her work on The Crown -- not through any fault of hers, but because the character of Elizabeth forces her to squelch the sly humor that often undergirds her best performances. Her character here isn't exactly a laugh-riot, but she has moments of wryness that are a joy to behold. (My favorite: when the caregiver says "Your father is charming", and she replies with a chipper "Not always.') The two, and the other actors (special mention to Rufus Sewell), make the movie well worth watching.

Do you think Olivia Colman has a chance to win for Best Supporting Actress?

[Mister Tee]

The Father is a small piece, but a solidly effective one. Initially, I thought it would show its stage roots too obviously -- in the opening scene, you can just about feel the blocking, and sense when every pause is going to come. But, because of the nature of the script, it becomes something more interesting, and it's very fluidly realized -- a nice surprise, given that the playwright is the director, and he could easily have become too wedded to his stage vision. In the end, it feels like a movie, and a graceful one -- small, as I say, but memorable.

And it's gifted with some truly fine acting. Barely a year ago, I thought Anthony Hopkins' tank had run dry; he'd had that great run in the 90s, but that's a long way away at this point, and I despaired of him ever catching me by surprise again. But he did a wonderful job in The Two Popes, and does even more exquisite work here. It's a terrific part, of course -- Frank Langella has already won prizes for the stage version -- but Hopkins finds all sorts of shading in it. It's his best work since that Hannibal Lecter-to-John Quincy Adams stretch of two decades back.

And Olivia Colman, is, not unexpectedly, terrific. I've actually been disappointed in her work on The Crown -- not through any fault of hers, but because the character of Elizabeth forces her to squelch the sly humor that often undergirds her best performances. Her character here isn't exactly a laugh-riot, but she has moments of wryness that are a joy to behold. (My favorite: when the caregiver says "Your father is charming", and she replies with a chipper "Not always.') The two, and the other actors (special mention to Rufus Sewell), make the movie well worth watching.

[Big Magilla]

Boseman, Ahmed and Hopkins are sure things with Oldman, Lindo and Yeun circling the other two spots. Rahim would have to outpoll two of them. It's possible, but it's definitely an uphill battle.

[Reza]

THE MAURITANIAN
Cast: Tahar Rahim, Jodie Foster, Benedict Cumberbatch, Shailene Woodley, Zachary Levi.
Dir: Kevin Macdonald.

Succeeds where The Report failed as an interesting film about the Donald Rumsfeld approved horrors of GITMO. Less gruesome than Zero Dark Thirty, it saves most of its torture scenes until we're so well into the film that they don't overwhelm it.

Tahar Rahim is excellent in the lead, but there are a good six actors likely to be nominated for an Oscar ahead of him and there's only room for five. That leaves Jodie Foster to carry the mantle for the film, which she is perfectly capable of doing. In fact, I suspect that the liberal-minded Golden Globe voters had just that idea in mind when they gave her their supporting actress award. While she's good in what is arguably her best performance since Silence of the Lambs thirty years ago, she doesn't have a bravura moment that cries out "Oscar." She's just steady as she goes, which is good enough to secure a nomination. What the Golden Globe award does, however, is give the film the exposure it might not have otherwise gotten. An Oscar nomination will give it further exposure. I suspect voters will consider that the end of the trail for her this year.

Speaking of a reverse coattail. Tahar Rahim could well be that if Foster gets a nod especially now that her Globe win is going to bring the film to the notice of Academy members.