Tag: Matthew McConaughey

Oscars 2014 — Final Predictions

Hollywood’s favourite night of the year is once again upon us. Stars have campaigned. Odds have shortened. Dresses have been selected. Cinema trips have come thick and fast. Jared Leto’s hair has been straightened.

And, now that I’ve seen all the nominated films in all the most talked about categories, here are my final predictions for the 86th Academy Awards.

If you want to know a bit more about why I picked what/who, there are a few ponderings towards the end. For my review of each Best Picture nominee, click on the respective title.

Best Picture

American Hustle

Captain Phillips

Dallas Buyers Club

Gravity

Her

Nebraska

Philomena

12 Years a Slave

The Wolf of Wall Street

– What will win: 12 Years a Slave

– What I want to win: 12 Years a Slave

– What should’ve been nominated: Blue is the Warmest Colour

Best Actor

Christian Bale

Bruce Dern

Leonardo DiCaprio

Chiwetel Ejiofor

Matthew McConaughey

– Who will win: Matthew McConaughey

– Who I want to win: Leonardo DiCaprio

– Who should’ve been nominated: Tom Hanks (Captain Phillips)

Best Actress

Amy Adams

Cate Blanchett

Sandra Bullock

Judi Dench

Meryl Streep

– Who will win: Cate Blanchett

– Who I want to win: Cate Blanchett

– Who should’ve been nominated: Adèle Exarchopoulos (Blue is the Warmest Colour)

Best Supporting Actor

Barkhad Abdi

Bradley Cooper

Michael Fassbender

Jonah Hill

Jared Leto

– Who will win: Jared Leto

– Who I want to win: Barkhad Abdi

– Who should’ve been nominated: N/A

Best Supporting Actress

Sally Hawkins

Jennifer Lawrence

Lupita Nyong’o

Julia Roberts

June Squibb

– Who will win: Jennifer Lawrence

– Who I want to win: Lupita Nyong’o

– Who should’ve been nominated: Scarlett Johansson (Her)

Best Director

David O. Russell

Alfonso Cuarón

Alexander Payne

Steve McQueen

Martin Scorsese

– Who will win: Alfonso Cuarón

– Who I want to win: Steve McQueen

– Who should’ve been nominated: Joel and Ethan Coen (Inside Llewyn Davis)

Best Original Screenplay

American Hustle

Blue Jasmine

Dallas Buyers Club

Her

Nebraska

– What will win: American Hustle

– What I want to win: American Hustle

– What should’ve been nominated: Inside Llewyn Davis

Best Adapted Screenplay

Before Midnight

Captain Phillips

Philomena

12 Years a Slave

The Wolf of Wall Street

– What will win: 12 Years a Slave

– What I want to win: 12 Years a Slave

– What should’ve been nominated: Blue is the Warmest Colour

Best Documentary Feature

The Act of Killing

Cutie and the Boxer

Dirty Wars

The Square

20 Feet From Stardom

– What will win: The Act of Killing

– What I want to win: The Act of Killing

– What should’ve been nominated: Blackfish

Additional Quick-hits

With the exception of a few glaring errors, The Academy has more or less come up trumps this year, at least nominations-wise. Time will tell whether the industry congregation get it right on the night, but until then, let’s take a look at some of the unfortunate snubbees (in a personal snub, I’ve opted not to include my Best Foreign Language picks above as, for whatever reason, i haven’t seen enough of the nominated films).

Inside Llewyn Davis, what is going on? Only up for Best Cinematography and Best Sound Mixing, my personal favourite film of the year has strummed a valiant strum, only to be waived by another Bud Grossman. As unlucky as Llewyn himself (irony eh?) the film should be up for a lot more.

Tom Hanks delivers the performance of a lifetime in the final moments of Captain Phillips, but his name is nowhere to be seen. I’m a fan of Christian Bale, and thought he was really good in American Hustle, but no phony wig can hide the travesty that places his performance ahead of Hanks’. Having said that, old Tom’s already won a couple, so he might not be that bothered.

Another disappointingly shunned near-masterpiece, the folks behind Blue is the Warmest Colour must feel hard done by. Adèle Exarchopoulos’ raw, enchanting portrayal is criminally ignored. The film was ineligible for a Best Foreign Language nomination, but Best Director, Best Supporting Actress and Best Film nods should’ve been calling. It’s almost as if some of those hardened Americana execs don’t fancy reading subtitles…

On to the actual bunch clambering for awards, and it seems Best Actor, Best Actress and Best Supporting Actor are all pretty much sown up. I’d love Leo DiCaprio to finally receive the adulation he deserves in the form of a golden statuette, but McConaughey is the favourite and a worthy winner. Barkhad Abdi surprised at the BAFTAs, but won’t here. Cate Blanchett is the definitive stick on.

Jennifer Lawrence and Lupita Nyong’o have been tussling for Best Supporting Actress throughout this awards season, the former having come out on top more often. Nyong’o delivers the more powerful and wholly better performance, thus should win the gong. Gravity is up for a lot, but outwith the technical categories, might only win Best Director for Alfonso Cuarón.

What then, of the top prize? Best Film. It appears to be a three-way jostle between the important 12 Years a Slave, the glitzy American Hustle, and the floaty Gravity. Apparently, some Academy members find 12 Years a Slave too tough a watch – which is absurd – and Gravity ain’t exactly at its best on a laptop screen (most voters see the films at home), therefore a shock could be on the cards which would see American Hustle hustle its way to the top. I don’t think so. For me, there’s no looking past Steve McQueen’s haunting 12 Years a Slave.

There we have it.

After a fairly lacklustre spring/summer, the arrival of that typical awards scent in late autumn summoned a plethora of very good to great films. From Captain Phillips to The Wolf of Wall Street, and many others in between, we’ve seen a mixture of high intensity drama, awe-inspiring visuals, harrowing story-telling and debaucherous eccentricity. All in all, I reckon it’s been a pretty good year.

Here’s to another!

The Wolf of Wall Street (2014)

★★★★

Director: Martin Scorsese

Release Date: December 25th, 2013 (US); January 17th 2014 (UK)

Genre: Biography; Comedy; Crime

Starring: Leonardo DiCaprio, Jonah Hill, Margot Robbie

It’s their fifth director/actor collaboration and The Wolf of Wall Street may well be Martin Scorsese and Leonardo DiCaprio at their most exuberant. This maniacal tale of excess drowns in a flood of alcohol, showers in a plethora of drugs and embezzles in enough debauchery, sex and controversy to last a lifetime, although probably not a Jordan Belfort lifetime. Yet, in spite of the countless unsavouries on display, there’s a hint of caution lingering. A moment of thought, of silent consideration. It’s only a whisper though, nothing more — caution is perhaps the only trait lacking throughout the film.

Is The Wolf of Wall Street, then, glorifying a repulsive glut-based culture? Perhaps for over two and a half hours, yes. You laugh, guffaw even, when a damning head shake should suffice. That is until a line of blood trickles down one character’s forehead, when perspective and sense reign supreme. Maybe not from Jordan Belfort or any other money-gorging lackey at his disposal. Rather, from Scorsese himself, who subtly denounces the previously lauded mounds of greed and subsequently, masterfully, ties this disastrous party in a bow of warning.

Jordan Belfort (Leonardo DiCaprio) is the kind of guy who would strut into a room full of more experienced heads and immediately present himself as bigger and as better. In fact, shortly after a Black Monday layoff, Belfort does exactly that as he aggressively and successfully makes an impressive sale in his new job as part of a small brokerage firm. This sale, or in layman’s terms customer manipulation, is the catalyst for Belfort’s booming career, one that sees himself and partner Donnie Azoff (Jonah Hill) set up their own financial consultancy business that, funded by immorality, skyrockets the pair to monetary heaven.

From the outset, The Wolf of Wall Street positions itself as relentless and indulgent, maintaining those tonal traits throughout, effectively, its entirety. Excess is the mantra, limits are ostracised. Belfort narrates in a gloating manner not too far removed from, “Hey, look at all this crazy, hilarious shit we got up to!” Animals are paraded, devoured. Women are either reduced to objects solely to aid the male desire, or are rendered forever in debt to their gender opposites. At one point Belfort bellows, “I want you to deal with your problems by becoming rich!” absolutely believing his own deplorable motto. Yet, in all its apparent glorification of the obscene — a glorification that has attracted waves of controversy in some parts — the film never dawns a disguise. Scorsese, and perhaps he has earned to right to do so, goes that bit further. Of course there’s distaste galore, how could there not be given we are seeing the world through Belfort’s eyes? The film is not a bait-and-switch — this isn’t a narrative presently neutrally, one which then props up one or two flailing dubious remarks. Far from it. The cards are on the table from the off, boisterous cards without question, but the only cards possible.

What then, of the unadulterated humour that often floods the screen? If these obscenities playing out before us are so hideous, uncaring and self-centred, why are they presented comically — or better yet, why are we laughing along? Primarily, you laugh because it’s difficult not to get caught up in it all; in the madness, the chaos, the highs… and that’s the point. Belfort’s story is a journey of ever increasing lavishness (if his sewage ran dollar-full, nobody would bat an eyelid) and there is so much surplus residue that realistic comprehension becomes ridiculous — “It was a madhouse,” says the ringleader, and it most certainly was. Quaalude binges at work. Customer misguidance at work. Chimpanzees at work. Less-romantic-than-animalistic group interactions at work. We meet FBI agent Patrick Denham investigating the dodgy dealings on Wall Street, and sure enough our disbelieving minds are served another shocking reminder, one that puts beyond doubt the main reason why we are recession-hit. These insanities are just that, yet they’re quickly glossed either with a witty one-liner that you chuckle at, or an utterly hilarious hum ritual simultaneously employed by everyone in a crowded room. Terrence Winter’s screenplay is at times uncompromisingly funny, often because it adheres to Belfort’s drastic lifestyle and blends vibrantly with Scorsese’s scoping direction.

Significantly though, the film does not condone its characters’ actions. Without giving too much away, Belfort’s status during the final twenty minutes ensures that his previous shenanigans are not to be heralded triumphantly, perhaps not even by the man himself. After loudly depicting his life of riches and numerous abnormal behaviours, the screen displays Belfort’s resultantly crippled existence. Yet it’s worth noting that the film refrains from divulging an absolute stance in its final scene; after two and a half hours incessantly shoving overabundance down your throat, Scorsese rightly lets the audience take for themselves that which they so desire — incidentally, the film is an 18 certificate, and surely any sensible adult would regard the on screen depictions as probably funny in the moment, but then even more wrong in reflection.

Matthew McConaughey looks set to pick up the Best Actor gong at this year’s Academy Awards for an incredible performance in Dallas Buyers Club, and he has a cameo here where the Texan gives an eccentric diatribe so oddly humorous that its seven and a half minute length races by. The speech sets the scene for what is to come, crudely summed up in three words: “Fuck the clients.” On the other end of said speech is the man McConaughey is likely to trump at the Oscars, Jordan Belfort himself, Leonardo DiCaprio. DiCaprio’s portrayal is awards-worthy, without doubt. From that first rampant manipulative sell he has the audience in the palm of his hands, unwittingly eating and then repentantly spitting out his soup of excess. Belfort is a dick; nuances such as talking down to the phone and beaming at the camera confirm exactly that. Somewhat surprisingly then, DiCaprio manages to keep you engaged in his aura just enough. It’s not that you ever like him, or that you feel sorry for him at any point. Yet DiCaprio ensures that there would be never any doubting a pleading second helping from the audience, even if Belfort sold you an initial injustice.

Jonah Hill’s acting stock ascends further up the ladder (no pun intended) as he once again proves his dramatic and comedic worth. The opposite of Belfort’s slick demeanour, Donnie is brash and instantly uncontrollable. If it weren’t for his gleaming teeth, you’d be certain that he’d kissed a few asses in his day. Hill is even better here than in Moneyball, where his underplayed wit is substituted for full on abrasion. Margot Robbie is Naomi, Belfort’s mistress and later wife, and she holds her own in a display of smutty elegance. As Swiss banking extraordinaire Jean-Jacques Saurel, Jean Dujardin combats Belfort’s booming ego with an even more pompously narcissistic mindset. Kyle Chandler solidly plays aforementioned FBI agent Patrick Denham and the narrative flirts with this idea that, on another day, Denham could’ve been a Jordan Belfort. However, this intriguing notion is regrettably gobbled up by the monstrous endeavours on show when, on another day, it might’ve played a bigger role.

Denham’s undervaluation is slightly disappointing, although like many other potential complications, his infrequent presence in a way adds to the overbearing message of excess. For example, problems such as the finance-driven plot becoming too difficult to consume and to follow, along with the superfluous length of the film, both drive home the exuberant attitude on display. Even the series of infomercials (Jordan Belfort’s Straight Line) all add to this inherently consumerist ideology. Another nit-picky annoyance that occasionally rears centres on editing. In particular, one glaringly obvious mishap occurs during the now notoriously funny Quaalude-incapacitating scene, where a set of stairs intermittently grows and shrinks in size. Maybe noticing that kind of sparing mistake is an indication that the action on screen has lost you which, for once, is accurate. The joke isn’t all that funny and this is a shame considering how well DiCaprio frustratingly manoeuvres.

The controversy surrounding this latest Martin Scorsese romp is unjust, or at least unnecessary. While the film does, to a degree, glorify the antics of its morally hideous protagonist played exceptionally well by Leonardo DiCaprio, the final few scenes denounce rather than herald all that has come before. Funny, rapturous, and although hampered by one or two problems of over excessiveness, the film delivers with punch. If The Wolf of Wall Street was a pen ready for sale, Scorsese would have me buying paper. Lots of it.

Dallas Buyers Club (2014)

★★★★

Director: Jean-Marc Vallée

Release Date: November 22nd, 2013 (US); February 7th, 2014 (UK)

Genre: Biography; Drama; History

Starring: Matthew McConaughey, Jared Leto, Jennifer Garner

About halfway through his moral readjustment and self-health stabilisation, Matthew McConaughey’s Ron Woodroof proclaims “Welcome to the Dallas Buyers Club”. It’s an off-beat moment in a fairly straightforward film (narratively speaking anyway). Woodroof, harassed by his own need and stricken circumstances, develops a strictly symptomatic relief program for AIDS, one that will help many others in a similar situation to his own. At its simplest the ‘club’ is a business, a money-making scheme to fund his own wellbeing. He’s a cowboy, a hustler, after all. But deep down it’s more than that. In his own plight against the horrible illness that Woodroof has mysteriously obtained, this homophobic, probably racist and really quite vile man has found humanity. So when he says, “Welcome to the Dallas Buyers Club,” of course he has dollar signs gleaming in his eyes and subsistence flowing through his limbs, but he also has a heart that beats in favour of survival. Not just his survival… everyone’s survival.

The macho Ron Woodroof dabbles in more than his fair share of alcohol, cocaine and women — behaviour that comes across more intrinsic than sporadic in his neck of the woods. He’s invincible, at least in his own mind. Recently though, coughing spurts have become common and dizzy spells just as a frequent, so when Woodroof collapses and shortly thereafter finds out he has contracted AIDS it’s less surprising than it is sad. Told nonchalantly he has around thirty days to live by Dr. Sevard (Dennis O’Hare), Ron initially dismisses the revelation as ridiculous, only to eventually succumb to reality. Often finding exuberance in the good-natured Dr. Eve Saks (Jennifer Garner), Ron uses his resourcefulness — he’s an electrician — to devise a plan of survival, one that also incorporates Rayon (Jared Leto), an extravagant and kind transgender woman whose shining demeanour aids Ron’s attitude as much as his health.

Dallas Buyers Club works on a number of levels, but the film’s most outstanding achievement centres on a pair of performances. First, Matthew McConaughey truly is extraordinary as the depleted Woodroof (the actor went as far as to lose 40 pounds for the role). He’s never made out to be a hero, not in the conventional manner anyway, and McConaughey never tries to sell him as such. When we first meet Ron he’s pretty loathsome, yet even this early on there’s a charismatic spark that seems to grow brighter and brighter the longer Ron lives. McConaughey often reigns in the sentimental tone; his persona is such that emotion, grace and vulnerability are not instinctive traits. Yet he still persuades you to unequivocally vie for him. Undoubtedly, his relationship with Rayon aids this audience connection. Jared Leto is utterly unrecognisable in appearance, but seeps total authenticity through the dress and make-up. He strikes a fine balance in the role, punchy and effeminate but never stumbling towards caricature mode. Together, and apart, the duo make you believe in these people, in their struggles and in their staunch resistance to the cards life has dealt.

There’s an interesting ‘corporate versus the little guy’ battle going on too. Essentially, this is your proverbial ‘Hollywood’ addition to a film wrapped up in a far from glamorous topic. The grappling-against-the-system element succeeds though, both in furthering Ron’s personal redemption and also injecting the story with a greater scope, a wider base to juggle on. Set in the mid-1980s, knowledge about combating AIDS is lousy at best (“Can I read a copy of the study?”; “No it’s still being written.”) therefore the most promising bet appears to be an antiviral named AZT, a drug flaunted and prescribed in high test dosages by the FDA (Food and Drug Administration), but one not entirely beneficial to patients. Ron discovers the non-truths, triggering his idea of a Dallas Buyers Club aimed at providing alternative medicines for sufferers. This fuels another morality fire, one which debates who is in the wrong: the multinational juggernauts selling false lies for cash, or the independent virus victim selling club memberships for life? FDA agent Richard Barkley (Michael O’Neill) is often the obstacle in Ron’s path only there’s a peculiar parallel that both men share. The duo are embezzled in the art of profiteering. However it’s what drives the men respectively that separates them, a moral compass that could not be more contradicting.

The film is based on a true story but envelops an artistic licence that sees it become something of a spiritual successor to Milk, and venturing further back Philadelphia, at least in terms of legal battles and humanistic principles. When Woodroof resolutely and poignantly exclaims, “I say what goes in my body, not you,” it resonates on both of these levels, particularly in regards to individuality and acceptance. There’s very little music going on the background to nudge your emotions in a certain direction. Instead your despairs and joys are all products generated from the poise of performance and presentation of story. A tough story at times, but one that is never told in an exploitative manner. Even still, director Jean-Marc Vallée seldom dismisses the presence of humour in telling the tale. Often these laughs emerge from McConaughey’s sly pretence and ingenuity — his character’s belief that he can get away with absolutely anything (including impersonating a priest) is endemic.

Dallas Buyers Club deals expertly with a painful subject, resultantly ensuring proceedings are far less demanding to watch in comparison to how tough they could easily have been. This is in no small part down to the performances of Jared Leto and Matthew McConaughey, the latter’s portrayal never shirking away from his characters shortcomings and non-heroic demeanour. Yet, you engage with the man so much that even as the shaky final scene of appreciation plays out, any personal misgivings are forgotten.

Mud (2013)

★★★★★

Director: Jeff Nichols

Release Date: May 10th, 2013 (UK and US)

Genre: Drama

Starring: Matthew McConaughey, Tye Sheridan, Jacob Lofland, Reese Witherspoon

“Well ain’t that somethin’?”

Matthew McConaughey’s would-be convict Mud appreciates the trivial simplicities of life: a boat for crossing water, food to quench hunger and loyalty in a time of need. What else if not the bare minimum, would a man of his troubles seek refuge amongst? His runaway status evokes moral juggling — do you root for the criminal, or sentence the lover? Jeff Nichols’ admirable tale of two boys who tend to see the best in otherwise dour surroundings works well on a number of narratively distinct levels. However it’s only when each aspect blends with the other elements above, below and to either side that Mud emerges from good film status, to really great film status.

And that most definitely is something.

Ellis and Neckbone spend their days stretching their curfews to the maximum in the jungle-like plains of Arkansas. They’re young, ambitious and boast that primitive exuberance driven by the desire to learn and discover, an energy that only fully manifests out on the edge of civilisation, where uninhabited landscapes taunt with hidden secrets. On another planned excavation to an abandoned boat planted high in a tree, the boys encounter the mysterious Mud: grizzled, somewhat wearisome yet poised and alert. From then, perhaps partly captivated by the stranger who appears to be the ultimate wild-man and also drawn upon the notion of trust, optimism and loyalty, Ellis and Neckbone make it their prerogative to assist the moored Mud in his attempts to reconnect with the girlfriend he murdered a perpetrator to protect.

On full throttle through his self-professed McConaissance, Matthew McConaughey delivers another outstanding performance as the titular Mud. The romcom stalwart turned highly-rated ‘serious’ star has an underplayed role, seldom emitting bouts of raw emotion (although when he does, he succeeds). McConaughey is challenged opposite two younger actors; he must act as a buffer for their highly-spirited intuition whilst developing his own character’s persona simultaneously. It’s fitting that he is the centrepiece of the narrative, the proverbial glue holding everything together, however it should be noted that McConaughey is not the centrepiece of the film. That’s the pair of maturing youths, Ellis and Neckbone, both portrayed brilliantly and charmingly by Tye Sheridan and Jacob Lofland.

Ellis and Neckbone are instantly drawn to the rugged fugitive. Although indecisive (particularly Neckbone) the boys see something in Mud that they do not have in their own lives — a father figure. Ellis, parents’ relationship cracking, is often faced with a distant dad who worries more about his own future rather than that of his son. Neckbone lives with his uncle, an outgoing type resembling the cooler big brother as opposed to a caring father. Growing up in a masculine culture, one defined by putting food on the table, working and earning and treating women with utmost respect, Ellis sees hope in Mud’s outright optimism. Optimism for love and a secure relationship in the face of violence and restraint. Optimism for freedom against restriction. Tye Sheridan, who the camera follows more than anyone, holds his own in scenes opposite a multitude of big-name actors: other than McConaughey, the likes of Reese Witherspoon, Sarah Paulson and Michael Shannon make up an efficient, talented supporting cast.

Stand by Me is an obvious comparison but the coming-of-age component is only one of two main plot lines, the other channelling a more commonly depicted fugitive (and subsequent search for) story. Mud, having murdered the man who impregnated the love of his life Juniper (Reese Witherspoon) and later thrown her downstairs, has no allies. Police prompt his image in the faces of residents and passers-by. The father and brother of Mud’s victim spend their relentlessly watching Juniper, ready to pounce and eliminate the outcast on sight. Mud has done wrong, but his eloquent treatment of the two boys demands admiration. He becomes their guru, and a trusted one at that (“It’s a hell of a thing ain’t it?” Hell of a thing”). You want him to succeed, just as much as you root for Ellis and Neckbone in their numerous quests: for maturity, for relationship, for acceptance.

The two primary narratives amalgamate into one, creating a wonderful Winter’s Bone–Moonrise Kingdom hybrid. Our main characters share a familier desire. Others are interested in self-preservation of body, property and history. There are even boats and water, a lot of it. The setting shares connotations with both films too, and is the very first nuance you are aware of as the outing begins. Shot beautifully by Adam Stone, the widespread landscapes juxtapose Mud’s isolation and loneliness, highlighting just how much he is hemmed in by a multitude of threats. His lack of ever-presence reinforces this idea of being trapped, and along with McConaughey’s composed-yet-ready-to-burst demeanour, you are always captivated by Mud and ultimately invested in his fate.

Jeff Nichols writes as eloquently as he directs. Camera enveloping atmosphere, words rhyming off lips propelled by their engrossing southern drawls, Nichols offers up a truly splendid piece of film. Alongside his young co-stars, McConaughey matches the excellence served up by his director and delivers on all fronts.

On present form, is there any stopping him?

Oscars 2014 — Early Predictions

On March 2nd the film industry will pay tribute to the greatest cinematic achievements of the past year. The best of the best. The cream of the crop. For the most part, anyway. The Academy Awards always generate a hefty amount of hype – with Harvey Weinstein on the prowl there’s no surprise there! – and perhaps more so this year than in the recent past given the relatively open landscape in just about all the heavy-hitting categories.

The Academy announced their nominations for each category earlier today, so let’s go through some of them and pick out a few potential winners.

I haven’t seen all of the films listed yet, which means a portion of the following bout of foreshadowing will be partly down to instinct and partly taking into consideration where the main bouts of buzz are landing. Heck, we can come back and amend stuff nearer the time… once I’ve consumed all the films. Ahem.

 

The Nominations

Best Picture

American Hustle

Captain Phillips

Dallas Buyers Club

Gravity

Her

Nebraska

Philomena

12 Years a Slave

The Wolf of Wall Street

– What will win: 12 Years a Slave

– What I want to win: Undecided

– What should’ve been nominated: Blue is the Warmest Colour

 

Best Actor

Christian Bale

Bruce Dern

Leonardo DiCaprio

Chiwetel Ejiofor

Matthew McConaughey

– Who will win: Chiwetel Ejiofor

– Who I want to win: Leonardo DiCaprio

– Who should’ve been nominated: Tom Hanks

 

Best Actress

Amy Adams

Cate Blanchett

Sandra Bullock

Judi Dench

Meryl Streep

– Who will win: Cate Blanchett

– Who I want to win: Cate Blanchett

– Who should’ve been nominated: Adèle Exarchopoulos

 

Best Supporting Actor

Barkhad Abdi

Bradley Cooper

Michael Fassbender

Jonah Hill

Jared Leto

– Who will win: Jared Leto

– Who I want to win: Barkhad Abdi

 

Best Supporting Actress

Sally Hawkins

Jennifer Lawrence

Lupita Nyong’o

Julia Roberts

June Squibb

– Who will win: Jennifer Lawrence

– Who I want to win: Undecided

 

Best Director

David O. Russell

Alfonso Cuarón

Alexander Payne

Steve McQueen

Martin Scorsese

– Who will win: Alfonso Cuarón

– Who I want to win: David O. Russell

 

Best Original Screenplay

American Hustle

Blue Jasmine

Dallas Buyers Club

Her

Nebraska

– What will win: American Hustle

– What I want to win: American Hustle

– What should’ve been nominated: Inside Llewyn Davis

 

Best Adapted Screenplay

Before Midnight

Captain Phillips

Philomena

12 Years a Slave

The Wolf of Wall Street

– What will win: 12 Years a Slave

– What I want to win: Undecided

 

Best Documentary Feature

The Act of Killing

Cutie and the Boxer

Dirty Wars

The Square

20 Feet From Stardom

– What will win: The Act of Killing

– What I want to win: The Act of Killing

– What should’ve been nominated: Blackfish

 

On an interesting side note, every year the Oscars devote a part of the ceremony to a certain theme. Last year for instance, a variety of musical numbers were unfurled on stage (remember Seth MacFarlane’s “Boob Song”?) paying tribute to film music.

This year the theme is ‘Movie Heroes’. That’s everyone from the normal person on the street, to the surgeon saving a life, to those larger-than-life superheroes we’ve come to know and love.

His film won Best Picture last year… I wonder if a certain newly appointed masked crusader will unveil his bat-wings this time around.

Preview: The 2014 Cinematic Landscape

Who invited January over?

Yep, the most miserable month of year has reared its ugly head again. However for film fans (and let’s be honest, who isn’t?) the arrival of the dreaded January means two things: One, it’s awards season, so watch out for the heavy hitters making their way around cinemas, and two, it’s time to look forward to another calendar year choc-a-bloc with films ready to burst loose and onto our screens.

I guess we should start looking then…

(All release dates are subject to change, so don’t be booking your holidays around them. Because I know people do that. What? Just me?)

 

January

The Wolf of Wall Street – Director: Martin Scorsese, Starring: Leonardo DiCaprio

That’s right, having spent the best part of a decade working together, Scorsese and DiCaprio are remaining true to form and battering out another collaboration. This time Leonardo DiCaprio is Jordan Belfort, a New York stockbroker who got rich overnight in the late 1980s. The Wolf of Wall Street is based on a true story and by all accounts, it’s a pretty hectic tale. Jonah Hill and Matthew McConaughey are part of this brash comedy that apparently didn’t go down too well with a few elderly Academy members, as reports suggest Scorsese and the cast were severely heckled after a screening. Sounds like a lot of fun then! Out January 17th in the UK.

Inside Llewyn Davis – Directors: Joel and Ethan Coen, Starring: Oscar Isaac

From the outrageous to the harmonious, Joel and Ethan Coen have rustled up another helping of their highly sought-after Kool-Aid. Set around the wintry Greenwich Village folk scene in 1961, the film depicts a week in the life of Llewyn Davis, an aspiring musician out of luck. This has earned rave reviews on the festival circuit, and could springboard Oscar Isaac into Hollywood stardom. The Coen Brothers are often meticulous in their film-making – details matter as much as one-liners – and with T-Bone Burnett orchestrating the music production, Inside Llewyn Davis may well cause one or two Academy Award-shaped upsets come March. Out January 24th in the UK.

 

February

Dallas Buyers Club – Director: Jean-Marc Vallée, Starring: Matthew McConaughey

It’s only February and here we are looking at Matthew McConaughey’s second film on the list (and it won’t be his last)! The true renaissance man of cinema has knocked role after role out of the park in recent years, be it as a gritty lawyer in The Lincoln Lawyer, an eccentric stripper in Magic Mike or a pact-making fugitive in Mud, and this is shaping up to be another home run. After being diagnosed with AIDS, hustler Ron Woodroof sees life in a new light, shining brightly on giving back to those in need. Dallas Buyers Club has an air of Milk about it, which can only be a good thing. Also watch out for a supporting performance from Jared Leto that is generating quite a helping of Oscar buzz. Not bad for a singer. Out February 7th in the UK.

The Monuments Men – Director: George Clooney, Starring: George Clooney, Matt Damon

Argo meets Inglorious Basterds. Now that doesn’t sound half-bad, does it? Only, replace stranded United States embassy staff with some art masterpieces, and Diane Kruger with Cate Blanchett, and you’ve got yourself George Clooney’s next directorial venture. It’s quite a change from running for president in The Ides of March, although some political elements look set to remain. Clooney and company are going to have to do exceedingly well to usurp Quentin Tarantino’s take on World War II, however with a cast including Bill Murray anything’s possible. Out February 21st in the UK.

 

March

The Grand Budapest Hotel – Director Wes Anderson, Starring: Just about everyone

Wes Anderson and that distinctive directorial style returns with a story about a heralded concierge, a young lobby boy and a stolen painting set in a hotel between World Wars. Anderson must have a phone book brimming with Hollywood stars, each of whom is in his debt. Or maybe he just makes interesting films (yep, probably this one). Bill Murray – hooray again – is joined by Saoirse Ronan, Jude Law, Ralph Fiennes, Tilda Swinton, Edward Norton, Jeff Goldblum and a whole host of other people you’d want to have round for dinner. There’s no doubt this’ll have laughs, but without the naive innocence on show in Moonrise Kingdom, will those laughs be enough to win over audiences? Maybe Anderson has another trick up his sleeve. Or in his hair. Out March 7th in the UK.

The Zero Theorem – Director: Terry Gilliam, Starring: Christophe Waltz

The man behind Monty Python has turned his head to existential science-fiction in this odd-sounding fantasy-drama. About a computer hacker’s search to uncover why and how human beings exist (he should check out The Meaning of Life, by the way), The Zero Theorem even tends towards comedy by the sounds of it. The hacker’s bosses, succinctly named the ‘Management’, strive to distract him by sending a lusty love interest to his place of work. This ‘Management’ lot obviously don’t understand the first rule of um, management – getting results. Surely Christophe Waltz (who plays our lead) won’t deliver results with his attention diverted elsewhere?! This could throw up anything really. Out March 14th in the UK.

 

April

The Double – Director: Richard Ayoade, Starring: Mia Wasikowska, Jesse Eisenberg

After his coming-of-age debut Submarine was well received by audiences and critics alike, the stone-faced Richard Ayoade has decided for his second film, to direct Jesse Eisenberg… twice. This peculiar outing about a man stalked by his doppelgänger won over viewers when it premièred at the Toronto International Film Festival, and then carried much momentum onto The Culture Show with Mark Kermode during its life at the BFI London Film Festival. Mia Wasikowska is included in the Jennifer Lawrence and Elizabeth Olsen future of cinema party, and if that’s not enough to clinch your attention, Eisenberg versus Eisenberg in a wit-off is something you have to see in 2014. Out April 4th in the UK.

Transcendence – Director: Wally Pfister, Starring: Johnny Depp

He’s the reason most Christopher Nolan films look as wholesome as they do, but now someone else has to do the same for Wally Pfister (good luck Jess Hall!). Transcendence is his first venture into the directorial chair, and therefore could go either way. Given the extraordinary standards set by his previous work though, don’t expect anything to be left to chance. This story of death, life, and uncompromising power has morality at its heart and a string of Nolan’s acting repertoire to provide the beat. Johnny Depp meets Morgan Freeman, Rebecca Hall and Cillian Murphy in what is quite simply a exceptional line-up. Out April 25 in the UK.

 

May

Frank – Director: Lenny Abrahamson, Starring: Domhnall Gleeson, Michael Fassbender

Frank hasn’t been released anywhere yet, therefore we don’t know an awful lot about it. Abrahamson’s last film, What Richard Did, garnered positive reviews from critics, but doesn’t seem to share many similar characteristics with his upcoming piece. About a young musician looking for a break and finding solace in a mysterious, enigmatic band leader who invites him to join, Frank is described as a comedy, a drama and a mystery on IMDb (which is fitting really, because its content certainly is unknown for the most part). Domhnall Gleeson charmed 2013 and Michael Fassbender has developed a reputation greater than most, so we’re in good hands here. It’s also nice to see Scoot McNairy involved, who excelled in Gareth Edwards much talked about debut Monsters. Out May 9th in the UK.

Godzilla – Director: Gareth Edwards, Starring Aaron Taylor-Johnson, Elizabeth Olsen

Speaking of Gareth Edwards, his triumphant 2010 debut has landed him at the helm of the most anticipated blockbuster of the coming summer. Roland Emmerich butchered more than just the Japanese monster in his take on Godzilla fifteen years ago, he also tarnished the immediate legacy of the giant mutant lizard. It looks like Edwards is delving back into the franchise’s original backbone – the trials and tribulations of human nature and greed – which is a good idea in an era where blockbusters have to be intelligent, or its bust. Aaron Taylor-Johnson is a solid lead and Elizabeth Olsen has done a whole lot of right so far in her young career. It must be wary of high expectations, however those expectations are only lofty on the back of Edwards’ previous successes. Out May 16th in the UK.

 

June

22 Jump Street – Directors: Phil Lord and Chris Miller, Starring: Channing Tatum, Jonah Hill

After the surprising critical and commercial success of the first film, it’s time for Jump Street: The College Years. Undercover cops Channing Tatum and Jonah Hill are set to return and after their prior personal triumphs, the pair find themselves surrounded by fraternities and hipster clubs in college. Joint directors Phil Lord and Chris Miller have two highly marketable films out in 2014 – the first being The Lego Movie – but both have difficult obstacles to overcome. For 22 Jump Street it’s all about bettering the predecessor, and that will be a big ask. Out June 6th in the UK.

A Million Ways to Die in the West – Director: Seth MacFarlane, Starring: Seth MacFarlane, Charlize Theron

Ted worked out well for Seth MacFarlane, so why not turn his head towards the west? After losing the love of his life to cowardliness, a man finds bravery in the form a gunslinger’s wife, only now the gunslinger wants his wife back. This one sounds like referential humour in abundance. Expect many a cowboy gag and acoustic twang. MacFarlane does blunt comedy very well in animated form, and his cross-over into live action was a successful one. Only time will tell if he can strike an even better balance second time around. Out June 6th in the UK.

 

July

Dawn of the Planet of the Apes – Director: Matt Reeves, Starring: Gary Oldman

Cloverfield director Matt Reeves tries his hand at an Apes sequel, and will do well to live up to standards set by the first. There’s no James Franco (he’s too busy doing weird indie stuff), nor does Freida Pinto return. However, Gary Oldman has been lined up to take the reins and there can be absolutely quarrels with that appointment. Set eight years after Rise of the Planet of the Apes, human survivors of the virus unleashed at the end of the first film bond together in a movement against Caesar’s growing forces. The Picasso of motion-capture acting, Andy Serkis, is back as Caesar in an outing that pertains to being far more action-packed than the first. Out July 17th in the UK.

Jupiter Ascending – Directors: Andy and Lana Wachowski, Starring: Mila Kunis, Channing Tatum

In what appears to be 2014’s Cloud Atlas (and hopefully not 2014’s After Earth) Jupiter Ascending will be strung together by mythology, scintillating visual landscapes and probably some croaky language not-of-this-earth. The human species has fallen mightily, and exists near foot of the evolutionary pyramid, where Mila Kunis cleans toilets for a living. Her unfulfilled existence is about to change however, as she is targeted for assassination by the threatened Queen of the Universe in an attempt to ensure her own longevity. You’ve got to hand it to the Wachowski’s: they’re not afraid to dream and do big. In the same vein as their previous films, this’ll likely split opinion. Out July 25th in the UK.

 

August

Guardians of the Galaxy – Director: James Gunn, Starring: Lee Pace, Vin Diesel, Bradley Cooper, Zoe Saldana

The Avengers’ cousin, this will be Marvel Cinematic Universe’s second offering of the year after Captain America: The Winter Solider, and the first in its own particular superhero story strand. A group of misfits including a warrior, a tree-human hybrid and a squirrel are recruited by a stranded pilot in space as he attempts to fend off a number of cosmic threats and ensure the galaxy’s survival. Guardians received an electric reception

Guardians received an electric reception at the 2013 San Diego Comic Con and there’s a large degree of buzz surrounding the film. With very little exposure in the run up to its release – unlike The Avengers which was preceded by feature-length films for each character – it may not make as big an impact as expected. Out August 1st in the UK.

Hercules: The Thracian Wars – Director: Brett Ratner, Starring: Dwayne Johnson

Much like the battle of White House destruction supremacy that played out in 2013, this year will have its own inter-Herculean duel as two re-imaginings of the Greek demigod come to fruition. The second and more anticipated of the two will be directed by Brett Ratner and will star the franchise re-energiser himself, Dwayne “The Rock” Johnson, alongside film veterans John Hurt and Ian McShane. Can The Rock layeth the Smacketh-down on both a monstrous warlord and a February release of the same name? Out August 8th in the UK.

 

September

Posh – Director: Lone Scherfig, Starring: Sam Claflin, Natalie Dormer

At the time of writing, September is looking pretty starved in the film front. It’s sandwiched amongst that awkward post-summer blockbuster, pre-awards season gap, when many people are heading back to work, school or uni. However Danish director Lone Scherfig has this upper-class thriller lined up to hopefully quench our end-of-holiday blues. Sam Claflin and Game of Thrones’ Natalie Dormer will star as new members of the Riot Club at Oxford University. With very little known about Posh, let’s place it somewhere between National Lampoon’s Animal House and Pathology for now. Out September 19th in the UK.

 

October

Gone Girl – Director: David Fincher, Starring: Rosamund Pike, Ben Affleck

David Fincher has accumulated quite the portfolio of films throughout his career, along with a fair few fans too, so it’ll be interesting to see how this seemingly more straight-forward narrative will go down. Based on a novel of the same name, Gone Girl sees conundrums take precedence as a woman disappears on the day of her wedding anniversary. Fincher doesn’t often disappoint his supporters, and the mystery-thriller element here should be enough for him to juggle with and embroider his own spin. Heck, he’s got Batman as his lead for goodness sake. Out October 3rd in the UK.

 

November

Interstellar – Director: Christopher Nolan, Starring: Anne Hathaway, Matthew McConaughey

In his first film since neatly wrapping up the trials and tribulations of Batman for a while (oh… right) Chris Nolan is taking to space for his next voyage. Hey look, Matthew McConaughey is back again! And this time Double-M is joined by Nolan archivees Anne Hathaway and Michael Caine, plus Jessica Chastain, in a sci-fi tale about discovering the bounds of life and surpassing the un-surpass-able. Ahem. Expect wormholes aplenty and probably even some dimension-hopping, time-travelly stuff too. Nolan hasn’t made a bad film in, well, ever, so Interstellar will open with very high expectations. Will it be stellar? Out November 7th in the UK.

The Hunger Games: Mockingjay – Part 1 – Director: Francis Lawrence, Starring: Jennifer Lawrence

It’s becoming a late-November outing to be thankful for, but with two excellent predecessors, the less-well-regarded Mockingjay (Part 1, to ruffle even more feathers) has hype, expectations and box office records to live up to. Jennifer Lawrence will reclaim the bow for a third time as she helms the rebellion against President Snow and his viscous Capitol. Francis Lawrence infused Catching Fire with more politically current themes, and created an altogether bleaker but better film than first time around – and first time around was pretty damn good. Going by the material in the third book, Francis Lawrence has an even bigger task on his hands here. Part 1 is out November 21st in the UK, with Part 2 to follow a year later.

 

December

Dumb and Dumber To – Directors: Bobby and Peter Farrelly, Starring: Jim Carey, Jeff Daniels

Anchorman 2 by association, and we’re not off to a great start with the title. Much like the return of the Burgundy-brigade after nine years in December 2013, the dimwits are set to return in December 2014 after twenty years doing absolutely nothing. Not really, both Carey and Daniels are far bigger stars these days, raising the question: will it be harder for audiences to acclimatise to their characters’ now Hollywood stupidity? Fortunately, the Farrelly brothers are once again fronting up the sequel which does actually sound quite funny: the duo are on the hunt for a new kidney, so now is probably a good time to find that long-lost child. Out December 19th in the UK.

The Hobbit: There and Back Again – Director: Peter Jackson, Starring: Martin Freeman, Ian McKellen

And finally, we once again end the year at the end of the Hobbity adventure. Peter Jackson’s extended extension of J. R. R Tolkien’s ‘The Hobbit’ has improved with age, but will probably never please the hardcore Tolkienati. We’ve been there twice and it’s time to go back again as the world finds out the fate of Bilbo, Gandalf and their company of dwarfs, in their joust with Smaug. The amount of book pages remaining is wearing thin, so it’ll be interesting to see how Jackson expands this final instalment across almost three hours (which he’ll surely do). The Hobbit films haven’t really been a patch on The Lord of the Rings trilogy, but I’ll certainly miss Jackson’s endeavours into Middle Earth when the franchise finally nestles up. Out December 19th in the UK.

 

 

Some more potential hit or misses:

Jack Ryan: Shadow Recruit (Kenneth Branagh): This year’s Jack Reacher, only Tom Cruise is younger and cooler. Out January.

Non-Stop (Jaume Collet-Serra): Taken on a Plane. Out February.

Nymphomaniac (Lars von Trier): Wherever von Trier goes controversy follows, and this has controversy smothered all over it. Along with a lot of other… stuff. Part I out February, Part II out March.

The Amazing Spiderman 2 (Marc Webb): Three and Four are already confirmed, and although the first regeneration was a success, counting chickens is a dangerous game. Out April.

Chef (Jon Favreau): Favreau’s Iron Man set a yet-to-be-reached bar for the franchise, and he’s back with RDJ in this tasty comedy. Out May.

The Fault in our Stars (Josh Boone): It’s probably time for a summer weep-fest. Out June.

Transformers 4 (Michael Bay): Let’s not even kid ourselves. Unfortunately, out July.

Sin City: A Dame to Kill For (Frank Miller and Robert Rodriguez): The next chapter in this graphic novel-driven saga. Out August.

Search Party (Scott Armstrong): Matthew Abbadon from LOST is in it. Out September.

The Maze Runner (Wes Ball): Brimming with youthful potential, will this be the next Hunger Games? Out October.

Horrible Bosses 2 (Sean Anders): The first was pretty average, but Christophe Waltz has been snapped up for this one. Out November.

Exodus (Ridley Scott): Scott’s movie-making binge continues with this account of Moses, played by Christian Bale. Out December.

 

What are you looking forward to seeing in 2014? Comment below!