Tag Archives: Rami Malek

Oscars 2019 Recap

What to lead with?

a) The Oscars were boring as hell without a host.

b) Green Book is NOT my best picture.

Although the Oscars did see a modest bump in audience this year, it is not likely to 91st Annual Academy Awards - Showhave converted any of the first-time watchers as the show felt listless and low energy without a host or opening number. Many of the presenters were good – I like the John Mulaney-Awkwafina pairing, and of course Amy Poehler, Maya Rudolph and Tina Fey, though I think the win goes to Melissa McCarthy and Brian Tyree Henry who really went balls-out in paying tribute to costumers (and kudos to the costume designer in charge of her cape who actually got every single one of those bunnies to stand up).

It was a great night for women, and for women of colour in particular. Rachel Carter and Hannah Beachler became the first ever African American women to win in their categories – costume design for Carter and production design for Beachler. They’re the first African American women to win in a non-acting category since 1984, when91st Annual Academy Awards - Press Room Irene Cara won for cowriting Flashdance. Both wins come courtesy of juggernaut Black Panther, which may be the actual best picture of 2018, trophy or not. “Marvel may have created the first black superhero, but through costume design, we turned him into an African king,” Carter said in her speech. “It’s been my life’s honor to create costumes. Thank you to the academy. Thank you for honoring African royalty and the empowered way women can look and lead onscreen.” Beachler, meanwhile, paid it forward “I give the strength to all of those who come next, to keep going, to never give up. And when you think it’s impossible, just remember to say this piece of advice I got from a very wise woman: I did my best, and my best is good enough.”

Regina King, Mahershala Ali, and Rami Malek all earned the Oscars they were expected to in the top acting categories. I have trouble calling Ali’s performance a 91st Annual Academy Awards, Press Room, Los Angeles, USA - 24 Feb 2019supporting one since he has pretty equal screen time to Viggo, but his award is deserved – not only was it the best and only good thing in an otherwise shitty movie, he ran a very gracious and thoughtful campaign. So did Malek, which is probably what pulled him out ahead of Christian Bale, who probably turned in the more effortful performance as Dick Cheney in Vice but didn’t campaign at all. Olivia Colman pulled out the night’s biggest upset (well, one of them) with her best actress win over the favoured Glenn Close (clearly not The Favourite though, haha, movie puns). Close is great in The Wife, which is not a good movie. Colman is great in The Favourite, which is an exceptional movie. Again, you can’t and shouldn’t really call hers the leading performance above Emma Stone and Rachel Weisz when all 3 ladies get equal screen time, but thanks to wonderful editing, her story line acts as 91st Annual Academy Awards - Backstagethe emotional anchor. And oh boy is she emotional! It’s such a forceful, impassioned performance. Truly deserving, even if poor Close has now lost 7 times and won 0 – a dismal track record, and she’s the got the dubious title of most nominated but never winning actor – male or female.

Spike Lee finally won his Oscar, for BlackKklansman‘s best adapted screenplay. A tough category, which makes it exciting. You could have had heaps more in there spike-lee-1-1for sure. I think If Beale Street Could Talk and Can You Ever Forgive Me? were just as good (and so different!) but I’m glad Lee won, and super glad that pal Sam Jackson was there to tell him the good news. Their on-stage celebration was one of the highlights of the night. So, by the way, was Barbra Streisand telling the audience the many things she and Spike have in common – including (but not limited to) their love of hats. God bless her!

Alfonso Cuaron won best director, as he should, from great friend and last year’s winner, Guillermo del Toro, who got out of his sick bed to do so. And Cuaron accepted Roma‘s award for best foreign language film on behalf of Mexico. And he won best cinematography, the first DP to win who also directed the movie. 91st Annual Academy Awards - Governors BallInterestingly, the American Society of Cinematography gave its highest award to Cold War’s Łukasz Żal, but that’s because Cuaron, a director, is not a part of this guild. Cuaron is the first person to be personally nominated for 4 Oscars for a single film (best foreign language is not personal, but awarded to a country), the fourth being for his original screenplay, which he lost in a tragic incident I don’t even want to get into. Anyhow, in presenting the award for cinematography, Tyler Perry noted it was a pleasure to do so “live on 91st Annual Academy Awards, Governors Ball, Los Angeles, USA - 24 Feb 2019camera, not during the commercial break. Thank you, Academy.” You may recall that just a few weeks ago, the Academy said it would hand out several awards, including this one, during commercial breaks, but had to rescind its decision due to the wrath of nearly everyone.

It used to be that best director and best picture often went hand in hand, which makes sense. But in the past 10 years, since the Oscars opened up the best picture category to a potential 10 nominees, things changed. Now it uses a “preferential ballot” system, which means the most liked movie wins – but not necessary the most popular, which could explain the now 50% 91st Annual Academy Awards - Showdiscrepancy between best picture and best director wins. Members are asked to rank the best picture nominees from best to worst. This year there were 8 nominees, so the accountants made 8 piles and sorted all the ballots according to their #1 choices. If no movie has more than 50% of the votes, and with more than 5 nominees that’s practically impossible, then the smallest pile is removed. Let’s assume that Vice had the smallest pile. Now all the ballots that listed Vice #1 are re-sorted into piles according to who their #2 pick was. You can see why canny members are now voting strategically, and how the movie with the most #1 picks won’t necessarily be the winner. The win could easily go to the movie with the most #2 picks, which is weird, but that’s also how Americans pick their presidents, and we all know how well that turns out. So Green Book is the Donald Trump of best pictures.

Green Book shouldn’t have been nominated. At best, it’s a pretty pedestrian movie. At best. But it’s also a movie about race relations that’s written and directed by white ABC's Coverage Of The 91st Annual Academy Awards - Press Roommen. Solely by white men. Which is why so many of the Academy’s old white men felt comfortable voting for it. They could pat themselves on the back for being ‘diverse’ while still rewarding the status quo – for reframing the story of a black man’s experience into the perspective of his white driver. Never mind that director Peter Farrelly has a history of consulting his penis during meetings. And that writer Nick Vallelonga has said some weird Islamophobic shit, agreeing with Trump of all people, tweeting “100% correct. Muslims in Jersey City cheering when towers went down” – and that was still on his time line when he won the Golden Globe this year. Gross.

Meanwhile, Roma is a work of art from start to finish. I’m so proud that a black and white movie, with subtitles, with no stars or recognizable names, about society’s less visible women, is such a huge deal, so gorgeous and relatable. What a win for 91st Annual Academy Awards - Governors BallNetflix, and for taking chances. And If Beale Street Could Talk is also completely worthy. It’s visual poetry. I was electrified, from the colours to the dialogue’s flow, and the story’s timeliness and timelessness. Perfection. And there are many other terrific movies besides: The Favourite is funny and incisive and beautifully acted; BlackKlansman is galvanizing wizardry; Sorry To Bother You is risky and bold; Blindspotting is culturally significant; Spiderman: Into the Spider Verse is ground breaking; Eighth Grade distills a moment in time, taking us back while pinning us in place with its precise observation; Black Panther elevates the super hero game and asks more of us as an audience and a culture; Can You Ever Forgive Me? is funnier than almost any comedy released this year but the humour comes from a dark and interesting place, a true voice for society’s losers; Leave No Trace is heart breaking in its truth and simplicity; First Man is cold and wonderful and ambitious and intimate; Crazy Rich Asians is visually stunning and a cultural milestone. I’m going to stop there, but you get my point. 2018 was a great year for movies. I was moved, I cried in utter delight, I was horrified and invigorated. I think Green Book is a step back. I wish it didn’t win. But instead of complaining about Green Book, I’m going to keep pushing forward the movies I love, because that’s what’s so great about cinema. You don’t have to like them all, but if you keep watching, you will find something to love.

 

Bohemian Rhapsody

Is this the real life? Is this just fantasy? Caught in a landslide, no escape from reality.
Open your eyes, look up to the skies and see…

Bohemian Rhapsody is the story of Queen, although if we’re being honest, it favours front man Freddie Mercury quite heavily.

Freddie Mercury was a complicated, effervescent, talented, charismatic man. The film is much more straight-forward than that. He was also sexually flamboyant. While not exactly openly gay, at least not publicly, he did adopt a look that easily identified him as MV5BZjEwODQ3ZDAtYzM4Zi00YWQxLThmZDEtNzhjNGJhMzFkNThjXkEyXkFqcGdeQXVyNjc0NzQzNTM@._V1_such. But he was more than gay or straight; he was fluid. He could wear a unitard on stage so confidently that he made people forget to be so judgmental. He won them over with his energy and stage presence. But after the show, Freddie was his own man. He did not lead a PG-13 life, so the PG-13 movie that attempts to immortalize it is of course sanitized. There is not much in the way of sex or drugs but the rock and roll – oh man.

That’s the reason to watch this film. The music is great, and the scenes revolving around the music tend to be its best. The decision to recreate their Live Aid set, widely considered to be the greatest 20 minutes of love music ever, in its entirety is the best thing that ever happened to a music biopic. I felt tears pricking my eyes the minute they stepped onto the stage.

Rami Malek is great. It’ll take a few minutes to see beyond the fake horse teeth he’s wearing of course, those are regrettable, but Malek is a fun casting choice who does indeed bring an intense Freddie energy to the role. The whole cast is great, actually, although I see Mike Myers is determined to make a comeback and I’m really not here for it, though he does have a pretty epic line.

Lucy Boynton has a meaty role as Mary. Mary was Freddie’s lifelong friend; they stayed close until the day he died. In the movie she gets to be Freddie’s significant other, which is great for the actress but less great for an audience who values authenticity. Yes she was a part of his life but she wasn’t his whole life. Mercury would have had many partners of course, but he had a great love, Jim, who lived with him during the last 6 years of his life, and nursed him when he got sick. Freddie died wearing Jim’s wedding ring. But in the film we get only the briefest glimpse of Jim and double eyefuls of Mary. Have they straight-washed a gay icon?

At any rate, if you came for the music, you’ll stay for it, and struggle not to burst out singing. The movie is more of a greatest hits compilation that an intimate evening with Freddie, but when the hits are so good, it’s hard to complain too loudly.

Buster’s Mal Heart

Buster is a mountain man on the run from authorities. He survives the cold winters by breaking into vacation homes and living off the spoils. He’s pursued by the police but also by flashbacks to his prior, family-man life, and by persistent daydreams of being adrift at sea. He calls radio shows to warn others about the impending “Inversion”.

The film, which eschews conventional story-telling, seems to have three distinct time lines, if I may call them that. 1. Buster (Rami Malek) as an overworked father and husband. He works as the night manager at a creepy hotel and the shift work is killing him. He lives with his in-laws, which might be killing him too, come to think of it. At the MV5BMzgzNjFhMmUtZDNmYy00N2M2LThiMzMtYjkwMjA4NjlkZjIwXkEyXkFqcGdeQXVyNjUxMjc1OTM@._V1_SX1777_CR0,0,1777,735_AL_hotel he encounters a drifter (DJ Qualls) begging for a room for the night, and this encounter will change the course of Buster’s life forever. 2. With matted hair and a dirty beard, Buster’s mind appears to be cracked. He lives off grid, barely surviving, almost no semblance to his former self. 3. He is half-starved, lost at sea in a small rowboat, sending letters in bottles overboard. We don’t know how long this has gone on for.

How many, if any, of these time lines is real? Are they manifestations of his wormhole conspiracy theory, or the product of a mind broken with grief and guilt, or just the insomniac’s daymares? That’s for you to figure out, without much help from director Sarah Adina Smith, who is perfectly comfortable with an audience full of head-scratchers and what-the-fuckers. In fact, she’s going to throw in a whole bunch of biblical allusions just to fuck with you some more.

One thing’s for sure: Rami Malek is ready to be a leading man. His minimalist style still conveys mental instability and eccentricity across all timelines. He contributes to the film maker’s ruse by making each version of Buster equally believe and unbelievable. All three feel authentic but all three cannot be. He gives away nothing. And in the end, if you’re going to enjoy this movie at all, you’ll have to be comfortable with that, with not getting any answers. By having bold questions shoved in your face and living with just discarding them. Is any version of Buster a real person, or are they all just metaphors for disillusionment? Or am I, the viewer, the one who’s disillusioned?