Posts tagged #film

BEETLEJUICE at 30

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Beetlejuice hit the big screen thirty years ago today. Three decades ago. That’s one decade for each time the recently deceased Maitlands had to say the titular ghoul’s name to summon him. Three was an important number in Beetlejuice: in addition to calling Betelgeuse’s name three times, the clock cuckooed three times when Adam and Barbara arrived home after their accident, admittance to the bureaucratic afterlife required three knocks, and the Maitlands had to yell “Home! Home! Home!” to escape the lecherous fiend in the graveyard... but I digress. I was eight years old when Beetlejuice came out and I knew I was seeing something that would stay with me.

On March 30, 1988, moviegoers got their first real glimpse into the often dark, sometimes surreal, and always imaginative mind of Tim Burton. Sure, Burton had directed Pee-wee’s Big Adventure in 1985 – its success afforded him the luxury of picking and choosing his next project – but Pee-wee was an existing Paul Reubens’ character and Burton was a hired filmmaker. Beetlejuice, from its unique production design and visionary art direction to its eccentric characters and quirky music, launched the Tim Burton brand.

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Beetlejuice recounts the story of Adam and Barbara Maitland, who, having recently died, contract out the haunting of their beloved home to the afterlife’s (mis)leading bio-exorcist, Betelgeuse (named for a star in the constellation Orion), after their meager ghostly attempts fail to scare away yuppie Charles Deetz, his shrill artist wife Delia, and his gothic daughter Lydia, the only one among the living who can see the Maitlands.

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Michael Keaton, who would go on to work with Burton on Batman in 1989 and Batman Returns in 1992, carries the cast as the man himself, though he’s only onscreen for 17 of the 92-minute movie. Beetlejuice also launched the career of a young Winona Ryder, who had only been in two previous films; she would also go on to work with Burton on Edward Scissorhands in 1990 and Frankenweenie in 2012. The cast of the living and the dead is rounded out with Alec Baldwin, Geena Davis, Catherine O’Hara, Jeffrey Jones, Glenn Shadix, and Sylvia Sidney as Juno, who was the only actor Burton had to actively convince to accept a role.

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My favorite character of the movie, though, is the Maitland house. Much like The Overlook Hotel in The Shining, the Maitland’s home is a character in its own right and it called to me. When I was eight, I had an inkling that I might want to pursue a career related to houses – an architect or interior designer, maybe – so, my grandmother sent me a dollhouse to assemble. After seeing Beetlejuice, how I wished my Victorian dollhouse was a funky late-80s art house with a model village in the attic. Every character in the movie wanted that damn house, whether to repair it, sell it, relax in it, redecorate it, or exorcise it, and so did I. In an alternate ending, every family would get their own version of the home: Adam and Barbara would live in a shrunken version in Adam’s model town and the Deetzes would live in the full size house before moving back to New York and leaving Lydia to be raised by the Maitlands.

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Beetlejuice was in good company in 1988 (from my then eight-year- old perspective) – it was released the same year as Who Framed Roger Rabbit?, Big, Willow, Coming to America, Hairspray, and Naked Gun, among others I was too young to legally watch. And it made money! The film grossed more than four times its $15 million budget, making it the 10th highest grossing movie of the year. There was a fair mix of humor, fantasy, and eccentricity rolling out in 1988, but there was nothing that could really compare to Burton’s now-signature style. And this in a pre-digital age, where all the effects and illusions were just that – smart analog tricks the production crew implemented in camera. There was very little done post-production, so everything evolved organically under Burton’s simple, yet visualist, direction: costumes, makeup (Beetlejuice won the Oscar for Best Makeup in 1989), sets, lighting, color schemes, scale… everything.

Like other Burton movies following it, music plays an important role in Beetlejuice. Danny Elfman scored the film (he’s collaborated on a total of 16 Burton films) and his campy orchestration underlies most scenes, but the real music of Beetlejuice is Calypso. One of the most iconic scenes in the movie is the ill-fated Deetz dinner party. I will never not imagine this scene when I hear Harry Belafonte’s 1956 Banana Boat Song (Day O) and I suspect it’s what you picture, as well. I recently re-watched the movie and noticed just how often the highly rhythmic sounds were present, especially in Adam and Barbara scenes. As the movie opens, we learn the Maitlands have foregone a traditional vacation in order to stay home and work on projects (the original staycation?). Just before they crash, Adam asks Barbara if she wouldn’t have liked to have gone to Jamaica instead. Perhaps the island music the Maitlands prefer is an eerie nod to the vacation they should have taken. (Did you know that when Glenn Shadix, who played Otho, died, Day O was played at his funeral?)

Beetlejuice wasn’t just a flash in the pan. A few years after the movie, a cartoon series was developed and it was a Saturday morning staple for me (it actually won a Daytime Emmy in 1990). There have been rumors of a Beetlejuice 2 in the works and I’d be the first in line to see it, especially as Burton and some of the original cast members are rumored to be in negotiations. There was an attempt at a sequel entitled Beetlejuice Goes Hawaiian (different type of island music there), but it never made it past the script stage. Even as recent as a few days ago, news of a Beetlejuice musical hit the internet, so I think it’s safe to say that Beetlejuice, strange and usual, will not be exorcised from pop culture any time soon.

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For further proof of the film’s enduring cultural relevance, here’s me in drag as Adam Maitland a few Halloweens ago (it’s a long story). But who did I meet at the Halloween parade?

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Beetlejuice, Beetlejuice, Beetlejuice!

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Posted on March 30, 2018 .

20 Years of The Big Lebowski

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“A way out west there was a fella, fella I want to tell you about, fella by the name of Jeff Lebowski.”  Twenty years later and that opening voice-over still brings a smile to my face. I’m not sure if it’s the smooth sounding voice of Sam Elliot, the writing, the scrolling camera shot of the streets of California, or a combination of the three but it makes me love the movie a little bit more each time.  I unfortunately didn't have the chance to view The BIg Lebowski until I was seventeen and it instantly became one of my favorite movies. The DVD at the time was in a discount bin for five bucks and after reading the back of the case and seeing the actors in it i thought “What the hell it’s only five bucks” and took it home for the first viewing. I watched it again the next day before I went to work at the retail job I had at the time, upon punching in I quickly asked around until I found someone who also saw the film.  After screaming “OVER THE LINE SMOKEY!” and “NO ONE FUCKS WITH THE JESUS!” a few times we began discussing the movie and our favorite parts. This coworker then informed me there was an actual religion based of of The Dude, and it was at this moment I realized I stumbled upon something bigger than just a small film from the late 90’s that I enjoyed.

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The legacy this film leaves behind would probably be best described as mix somewhere between an actual cult and a comedy classic.  The Church of the Latter-Day Dude might disagree with being called a cult since their message is one of a positive nature, but with such a passionate following of the film why can’t a cult mean something positive in this setting? Especially since the movie has it’s own festival. Lebowski Fest is something that happens every year where a ton of fans get together to cosplay, answer trivia, and talk about the film. The festival has even had stars of the film attend to hold panels and attend Q&A.  Even themed parties can't escape the grasp of this film, hell with that much fun even if it was a cult I would consider joining myself. It’s almost hard to believe that upon opening in the US in 1998 the film only grossed $17 million with the box office in the US, barely clearing the $15 million dollar budget.

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One of the many things I love about this film is that the main characters are relatable.  Everyone has a Donnie in their group, you know someone you tell to shut the fuck up or just treat like shit because they allow it, of course it's out of love and you’d give the guy (or gal) the shirt off of your back but there's just something about that roastable face of his or hers that makes you want to give ‘em shit. Then there’s The Dude, the one in the group who goes with the flow. The semi-enlightened one, the person who is always there for their friends and who will try to keep the group from running into conflict if avoidable. The one that loves to do his own thing, but will still answer the phone for you even if he is beyond pissed.  Just to let you know he got home safe after a fight between the two of you. Finally there’s Walter, the character I relate to the most of the three. The asshole in the group that stands his ground when it isn’t necessary or appropriate in most cases, but is also the first to make sure his friends are safe in any situation. He’s the hammer in the tool box of eyeglass repair kits.

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With the twenty year anniversary at hand, let’s all pour up a stiff White Russian blare some CCR and toast one of the greatest films of all times. I really don’t need an excuse to watch one of the greatest films of all time, but I know after work today I’m popping in a copy and sitting back to enjoy this fine piece of American cinema. You should as well.

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Posted on March 6, 2018 .

THE 2017 RESERVOIRIES - WINNERS

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After tallying the all the votes the results are finally in.
With great honor we are proud to present the Golden Kumar statues to the following films.

BEST DRAMA

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BEST COMEDY

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BEST SUPER HERO

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BEST SCI FI

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BEST HORROR

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BEST KIDS' MOVIE

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Well... After renting out a theater, paying for an open bar and catering it seems we forgot to send out all the invitations. Thankfully, Larry the guy who owns the theater was gracious enough to accept the awards on behalf of the absent representatives. Next year we will plan it better.
A special thanks goes out to all of you who voted. We appreciate you participation and interest more than you could know. Now let's go watch the Oscars and get pissed off.

Posted on March 3, 2018 and filed under Reservoiries.

The Incredibles 2 Olympic Teaser

Just like The Karate Kid 2, it seems that The Incredibles 2 picks up right where the first one left off. That's great new, sequel-wise, so you don't have to spend the first act catching up on what transpired since the previous film.  

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There's a lot to look forward to with Mr. Incredible/Bob Parr taking on the title of Mr. Mom and a lot of action from Jack Jack. Personally, I cannot wait for June 15th!

Posted on February 14, 2018 and filed under Trailer Park.

Review: Cloverfield Paradox

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So since first finding out about Cloverfield Paradox being on Netflix all on five hours ago, I've been jittery with excitement. If you read the celebration piece I did on the tenth anniversary of the original you know that the series has developed a special place in my heart. That is why I am so overjoyed to not only find out it would be available mere hours after the trailers premiere but that I am now here writing this review moments after watching it in all it's glory.

You'll excuse any over gushing as I am still on my Cloverfield high. Since this review is coming out so soon after it's release I will do you the kindness of leaving any spoilers out (less the one Netflix pulled with the snapshot from the film).
Paradox is incredible. There, I said it. It hearkens back memories of films like Paul W. S. Anderson's Event Horizon, Danny Boyle's Sunshine and to a certain extent the Barry Levinson's Sphere. It contains all the magic of extreme isolation with suspense at the hand of a mysterious outsider who's choices are as suspect as the isolation itself. Unlike those films Paradox mixes in corresponding events on Earth which parallel the fear happening on board the space/ocean vessel where our heroes are trapped.
As far as the franchise goes, this installment seems to be the one that is most closely related to the original Cloverfield. One could look at this film and believe that it's the direct cause of the events that took place in New York. Not only is this movie from the same family but also the same genus as well. Though I do like 10 Cloverfield Lane, Paradox is what I was hoping it would have been. 
The cast is comprised of stars like Miss Sloane's Gugu Mbatha-Raw, Selma's David Oyelowo, Captain America: Civil War's sad dad Daniel Brühl and, my personal favorite, IT Crowd's Chris O'Dowd. O'Dowd of course steals the show whenever he is on screen with his very understated comedic relief and Mbatha-Raw does an amazing job leading the film with so much intensity and compassion your heart aches for her. 
The film is the feature length directorial debut of Julius Onah who, I don't think I am to bold to declare, has a very bright future ahead of him. What better film than this for him to wet his feet with? A huge experiment in film distribution that, based on social media reaction, is an absolute hit and we have not the last of. A move so bold and that could have potentially backfired in the faces of Netflix and JJ Abrams. Imagine if they had pulled a stunt like this with a movie like Bright? My God...

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My only criticism of this and the entire Cloverfield franchise is that it leaves you wanting a direct sequel. I promised to be spoiler free and I will uphold my end of the deal here but when the movie ends, your mouth will be agape. You will more than likely do as I did and rewind the last 30 seconds to watch it again in all it's glory only to see the end credits roll while acknowledging to yourself that you will never get an answer for what the hell you just laid eyes on. Then rewind it again. 
Do yourself a favor and watch the movie now. Even if you already have. I know I will but for now, sleep (it's past midnight and I have work in the morning).

Posted on February 5, 2018 and filed under Movie Reviews.

Groundhog Day - 25th Anniversary

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In 1993 Groundhog Day (not "Groundhog's") was release, not on February 2nd but ten days later in fact on the 12th. For many it was a unique and brilliant story, myself included, but for Richard A. Lupoff it was a blatant rip off. Lupoff is the author of the 1973 short story 12:01PM and his story contains the same time-loop plot device where in a person keeps repeating the same hour of their life until they can resolve the issue. That story is far more bleak leaving the protagonist dead at the end only to have the hour start over again. The fun fact about 12:01PM is that less than a half year after the release of the beloved Bill Murray flick, Jonathan Silverman appeared in a Showtime Channel film version of the aforementioned short story.
So displeased was Lupoff that he considered suing Columbia Picture but eventually decided against it, thanks to the advise of his legal team. So with that mess all behind us, Groundhog Day was cemented as a landmark film that inspired so many others. 

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Below I've featured just a small sampling of the films inspired by the Groundhog Day plot devise, if I was to mention the episodes of television, this list would be endless. I would be remiss if I did not mention the amazing wonderful sixth season episode of X-Files entitled Monday. You can find it wherever X-Files is streaming. *Cue Sonny and Cher*

From teenage sex comedy to horror to murder mysteries to multiple dramas, the Groundhog Day treatment has been covered by all genres and, with the exception of Happy Death Day, it is always treated like an original idea. Listen, I'm not going to pretend I saw all these movies, I'm not sure anyone would pretend to have seen Premature, but I have seen my fair share. I'm a sucker for time travel. Source Code is amazing with a wonderful cameo by Scott Bakula who actually says his Quantum Leap catchphrase. Live.Die.Repea... or is it Edge of Tomorrow? It's a solid action film AND Happy Death Day is way better than it was perceived to be. If you get a chance, check it out. It even mentions Groundhog Day by name. I am sad to admit that I did see some of Naked, a remake of the Swedish film Naken and it was terrible.  

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Groundhog Day isn't just a great time travel movie, it's a great movie. Though it is the same short span of time repeated over and over, Murray's Phil growth as a human is among the finest ever told on the screen and the finest development any character has ever gone through in a 24 hour period. Obviously, I'm kidding about the 24 hours as Phil's journey takes, according to director Harold Ramis, 10 years (and according to some film nerds, upwards of 34 years). 
The film never falters and though deep and saddening at times, it never makes light of the desperate life Phil is burdened with. It's not only well written, directed and acted but it's beautiful to look at. Harold Ramis was at the top of his game with Groundhog Day and he made it all seem so effortless. 
Even though it is now a quarter of a century old, Groundhog Day still holds up. All the jokes still land, the story still has relevance and it still feels unique and special despite all the copies. Groundhog Day will be enjoyed by your children, their children and their children. It's just that good.

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Happy 25th Groundhog Day!

 

Posted on February 2, 2018 and filed under Movie Reviews.

Review: Brawl in Cell Block 99

This review will be as Spoiler-Free as possible.

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Brawl in Cell Block 99 promises ultra-violence and it delivers, but not without a build up that may or may not be worth the wait. 

Bradley (not Brad) Thomas has had a bad day. He's been laid off and comes home to discover his wife's been cheating on him for some time. They've grown apart following a miscarriage and troubles with addiction, but they decide to give it one more shot. They'll wipe the slates clean and try again. 

Here's where Bradley makes a bad decision, one that he and his family will never recover from.

Bradley decides to run drugs for Gil. All seems to be going well. His wife, Lauren, is pregnant again. They've moved into a bigger and better home. And all in 18 short months. But a run for a new dealer and his men ends in a shootout. Bradley ends up in police custody. He is swiftly sentenced to seven years behind bars, but it's ok, Lauren will wait for him. If only it were that simple. That new dealer Bradley was working for lost a LOT of money in that bust and he comes to Bradley, and Lauren, for repayment. Let the violence ensue!

The synopsis ends here as I don't wish to spoil anything further. It's in the title, Bradley ends up in Cell Block 99, but it's the journey there once he's incarcerated that's the real spectacle here. And, boy, does this film sure take its sweet time getting there. It's only in the last 1/3 of the movie that we see the titular Cell Block 99 and that brawl we've been promised is but a fraction of that. Make no mistake, the movie is violent and in a way that's so matter of fact that it's almost disarming. There are no big swells in the score, no rapid cuts during fight scenes, and no Bourne-style shaky cam. Instead, it just kind of happens, and I liked that. In fact, I don't recall there being much in the way of music during any of the fight scenes. The wet thwak of fist and face being the only percussive element in most scenes. This is definitely a different style of film violence than most of us are used to and for the most part it plays to great effect, brutal and visceral, no fluffy stuff. That is, until the very end, where the violence is almost so violent as to seem otherworldly, comedic even. A Peter Griffin-esque "ha-HAA" escaped my lips more than once during the final minutes of the film.

And it's here that I'm torn.

The film seems so to be striving for such authenticity in it's story-telling only to descend into what seems like Grindhouse levels of over the top comedic violence. Maybe that's just my way of "coping" with that kind of violence on screen. Maybe all we can do is laugh when the music drops out and we're watching bones break.

No.

Watching someone's face get scraped off is definitely funny.

Ultimately, I think Brawl in Cell Block 99 is worth your time. (Especially if you are a fan of director S. Craig Zahler's previous film Bone Tomahawk. By the way, if you haven't seen Bone Tomahawk, stop reading this immediately and watch it! That film is also ultra violent, but not funny at all.) While Brawl isn't really breaking any new ground with its story, it's still an entertaining take on the "decent guy makes bad decision now let's see how he gets out of this one" formula with a few extra beatings sprinkled in for good measure. It has a definite style even if that style is understated. Think John Carpenter's 80's era musical cues and George Romero's unflinching camera with a fresh coat of HD paint.

I give it a:

"WATCH IT IF YOU'VE HAD A BAD DAY AT WORK AND HAVE A COUPLE HOURS TO SPARE!"

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NOTEWORTHY:

  • + Vince Vaughn take the lead here sporting a bald head and cross tattoo.  
  • + Bradley (Vaughn) pretty much deconstructs a car with his bare hands.
  • + Don Johnson plays a great bad guy!
  • + Most sinister use of an "abortionist" by a drug kingpin.
  • + Shoe beating!
  • + Taser belt!
  • + the REAL Face-Off!
  • + More head stomps than you can shake a stick at.
  • + Beheading by foot!
  • -  Vince Vaughn's southern accent is pretty hit and miss.
  • -  Not enough Don Johnson!
  • -  Some laughable but not funny dialogue.
  • -  Nothing new story-wise here. Kids, don't run drugs!
  • -  Dat runtime doe! 

Brawl in Cell Block 99 was directed by S. Craig Zahler and stars Vince Vaughn, Jennifer Carpenter, and Don Johnson. It is available for streaming via Amazon Prime. 

Posted on January 30, 2018 and filed under Movie Reviews.

REVIEW: A Futile and Stupid Gesture

I'll be honest with you here, until about two and half hours before writing this, I didn't even know this was a movie that existed. That much time later and I am happy to know that it exists. I grew up watching on National Lampoon's movies and as a teenager discovered the magazine through collections in book form. Always irreverent and hilarious, National Lampoon formed my sense of humor and proved that there is a place for the funny people in the world. 

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After the abysmal trashcan that is Bright came out last month it seemed that Netflix may have taken a misstep and perhaps would have been better off sticking to series programming instead. A little bit of a sidestep, if you will; last week with nothing piquing my interest I stumbled upon the Netflix movie Polka King with Jack Black and was pleasantly surprised, so if you get a second... Now with that and A Futile and Stupid Gesture, it seems that Netflix has the movie game under control. 

The movie is directed by David Wain and a better choice, I cannot think of. Wain is no stranger to the story of heading up a group of young comedic misfits with his producing and directing of the MTV series The State. A group that would go on to star in Reno 9-11, Viva Variety and the various David Wain films including Wet Hot American Summer which later went on to have two sucessful series on Netflix. 

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The casting of A Futile and Stupid Gesture is comprised of the best of today's comedy highlights, many of which would have, I'm sure, found themselves as part of the Lampoon crew. Will Forte is always a sure bet and does not let down as Douglas Kenney, one half of the genius behind Nation Lampoon. The other half was Henry Beard played by the incredible Domhnall Gleeson, who I absolutely love. Gleeson shines in everything he is in; Frank, Force Awakens, American Made, Brendan Gleeson's testicles... The guy is a sure stand out! Filling out the cast is Joel McHale with a pretty great performance as his former Community co-star Chevy Chase, Jon Daly (who is shockingly not related at all to Andy Daly) as Bill Murray and Thomas Lennon as writer Michael O'Donoghue. At this time I would like to point out that this is one of the rare rejoinings of Lennon and David Wain, a combo that we as the audience never get enough of but is a sure hit everytime.

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A Futile and Stupid Gesture is a great movie based on a terrific story. As someone involved in joining together with my dear friends to make something amazing, this story truly speaks to me. I just hope we can stay away from cocaine because that stuff is dangerous. You heard it here first, folks. Stay away from cocaine but enjoy the hell out of A Futile and Stupid Gesture.
SHOVE IT UP YOUR NOSE!
 

Posted on January 26, 2018 and filed under Movie Reviews.

And the Oscar Nomination goes to......

The Oscars are here and true to form there are some noticeable snubs and Golden Globe atonements. Greta Gerwig has rightfully been added to the Directing category. Tom Hanks is missing from Best Actor to make room for Get Out's Daniel Kaluuya who got out of the musical or comedy category. One glaring omission to me is that Wonder Woman is not nominated for anything at all which is a shame because it was such a good movie. 

What are you most excited about or disappointed with? Let us know in the comments below

If Baby Driver doesn't win for Sound Mixing we riot.

BEST PICTURE

  • Call Me By Your Name
  • Darkest Hour
  • Dunkirk
  • Get Out
  • Lady Bird
  • Phantom Thread
  • The Post
  • The Shape of Water
  • Three Billboards Outside Ebbing, Missouri

DIRECTING

  • Christopher Nolan — Dunkirk
  • Jordan Peele — Get Out
  • Greta Gerwig — Lady Bird
  • Paul Thomas Anderson — Phantom Thread
  • Guillermo del Toro — The Shape of Water

ORIGINAL SCREENPLAY

  • The Big Sick — Emily V. Gordon, Kumail Nanjiani
  • Get Out — Jordan Peele
  • Lady Bird — Greta Gerwig
  • The Shape of Water — Guillermo del Toro, Vanessa Taylor
  • Three Billboards Outside Ebbing, Missouri — Martin McDonagh

ADAPTED SCREENPLAY

  • Call Me By Your Name — James Ivory
  • The Disaster Artist — Scott Neustadter, Michael H. Weber
  • Logan — Scott Frank, James Mangold, Michael Green
  • Molly’s Game — Aaron Sorkin
  • Mudbound — Virgil Williams, Dee Rees

ACTOR IN A LEADING ROLE

  • Timothée Chalamet — Call Me By Your Name
  • Daniel Day Lewis — Phantom Thread
  • Daniel Kaluuya — Get Out
  • Gary Oldman — Darkest Hour
  • Denzel Washington — Roman J. Israel, Esq.

ACTRESS IN A LEADING ROLE

  • Sally Hawkins — The Shape of Water
  • Frances McDormand — Three Billboards Outside Ebbing, Missouri
  • Margot Robbie — I, Tonya
  • Saoirse Ronan — Lady Bird
  • Meryl Streep — The Post

ACTOR IN A SUPPORTING ROLE

  • Willem Dafoe — The Florida Project
  • Woody Harrelson — Three Billboards Outside Ebbing, Missouri
  • Richard Jenkins — The Shape of Water
  • Christopher Plummer — All the Money in the World
  • Sam Rockwell — Three Billboards Outside Ebbing, Missouri

ACTRESS IN A SUPPORTING ROLE

  • Mary J. Blige — Mudbound
  • Allison Janney — I, Tonya
  • Lesley Manville — Phantom Thread
  • Laurie Metcalf — Lady Bird
  • Octavia Spencer — The Shape of Water

DOCUMENTARY (FEATURE)

  • Abacus: Small Enough to Jail — Steve James, Mark Mitten, Julie Goldman
  • Faces Places — Agnès Varda, JR and Rosalie Varda
  • Icarus — Bryan Fogel, Dan Cogan
  • Last Men in Aleppo — Feras Fayyad, Kareem Abeed, Søren Steen Jespersen
  • Strong Island — Yance Ford, Joslyn Barnes

DOCUMENTARY (SHORT SUBJECT)

  • Edith + Eddie — Laura Checkoway, Thomas Lee Wright
  • Heaven is a Traffic Jam on the 405 — Frank Stiefel
  • Heroin(e) — Elaine McMilion Sheldon, Kerrin Sheldon
  • Knife Skills — Thomas Lennon
  • Traffic Stop — Kate Davis, David Heilbroner

LIVE ACTION SHORT FILM

  • DeKalb Elementary — Reed Van Dyk
  • The Eleven O’Clock — Derin Seale, Josh Lawson
  • My Nephew Emmett — Kevin Wilson Jr.
  • The Silent Child — Chris Overton, Rachel Shenton
  • Watu Wote / All of Us — Katja Benrath, Tobias Rosen

ANIMATED FEATURE FILM

  • The Boss Baby — Tom McGrath, Ramsey Naito
  • The Breadwinner — Nora Twomey, Anthony Leo
  • Coco — Lee Unkrich, Darla K. Anderson
  • Ferdinand — Carlos Saldanha
  • Loving Vincent — Dorota Kobiela, Hugh Welchman, Ivan Mactaggart

ANIMATED SHORT FILM

  • Dear Basketball — Glen Keane, Kobe Bryant
  • Garden Party — Victor Claire, Gabriel Grapperon
  • Lou — Dave Mullins, Dana Murray
  • Negative Space — Max Porter, Ru Kuwahata
  • Revolting Rhymes — Jakob Schuh, Jan Lachauer

FOREIGN LANGUAGE FILM

  • A Fantastic Woman — Sebastián Lelio, Chile
  • The Insult — Ziad Doueiri, Lebanon
  • Loveless — Andrey Zvyagintsev, Russia
  • On Body and Soul — Ildikó Enyedi, Hungary
  • The Square — Ruben Östlund, Sweden

CINEMATOGRAPHY

  • Blade Runner 2049 — Roger A. Deakins
  • Darkest Hour —  Bruno Delbonnel
  • Dunkirk — Hoyte van Hoytema
  • Mudbound — Rachel Morrison
  • The Shape of Water — Dan Laustsen

PRODUCTION DESIGN

  • Beauty and the Beast — Sarah Greenwood, Katie Spencer
  • Blade Runner 2049 — Dennis Gassner, Alessandra Querzola
  • Darkest Hour - Sarah Greenwood, Katie Spencer
  • Dunkirk — Nathan Crowley, Gary Fettis
  • The Shape of Water — Paul Denham Austerberry, Shane Vieau, Jeff Melvin

VISUAL EFFECTS

  • Blade Runner 2049
  • Guardians of the Galaxy Vol. 2
  • Kong: Skull Island
  • Star Wars: The Last Jedi
  • War for the Planet of the Apes

FILM EDITING

  • Baby Driver — Paul Machliss, Jonathan Amos
  • Dunkirk — Lee Smith
  • I, Tonya — Tatiana S. Riegel
  • The Shape of Water — Sidney Wolinsky
  • Three Billboards Outside Ebbing, Missouri — Jon Gregory

COSTUME DESIGN

  • Beauty and the Beast — Jacqueline Durran
  • Darkest Hour — Jacqueline Durran
  • Phantom Thread — Mark Bridges
  • The Shape of Water — Luis Sequeira
  • Victoria & Abdul — Consolata Boyle

MAKEUP AND HAIRSTYLING

  • Darkest Hour — Kazuhiro Tsuji, David Malinowski, Lucy Sibbick
  • Victoria & Abdul — Daniel Phillips, Lou Sheppard
  • Wonder — Arden Tuiten

ORIGINAL SCORE

  • Dunkirk — Hans Zimmer
  • Phantom Thread — Jonny Greenwood
  • The Shape of Water — Alexandre Desplat
  • Star Wars: The Last Jedi — John Williams
  • Three Billboards Outside Ebbing, Missouri — Carter Burwell

ORIGINAL SONG

  • “Mighty River” — Mudbound, Mary J. Blige, Raphael Saadiq, Taura Stinson
  • “Mystery of Love” — Call Me By Your Name, Sufjan Stevens
  • “Remember Me” — Coco, Kristen Anderson-Lopez, Robert Lopez
  • “Stand Up for Something” — Marshall, Diane Warren, Lonnie R. Lynn
  • “This is Me” — The Greatest Showman, Benj Pasek, Justin Paul

SOUND EDITING

  • Baby Driver — Julian Slater
  • Blade Runner 2049 — Mark Mangini, Theo Green
  • Dunkirk — Richard King, Alex Gibson
  • The Shape of Water — Nathan Robitaille, Nelson Ferreira
  • Star Wars: The Last Jedi — Matthew Wood, Ren Klyce

SOUND MIXING

  • Baby Driver — Julian Slater, Tim Cavagin, Mary H. Ellis
  • Blade Runner 2049— Ron Bartlett, Doug Hemphill, Mac Ruth
  • Dunkirk — Mark Weingarten, Gregg Landaker, Gary A. Rizzo
  • The Shape of Water — Christian Cooke, Bran Zoern, Glen Gauthier
  • Star Wars: The Last Jedi — David Parker, Michael Semanick, Ren Klyce, Stuart Wilson
Posted on January 23, 2018 .

THE 2017 RESERVOIRIES - FINAL NOMINEES

ReservoiriesFINALclosed.png

You voted and the results are here! The top three movies from every category have been selected by you and here they are!

Winners will be announced on March 3rd!

Happy Voting!

 
Posted on January 22, 2018 and filed under Reservoiries.