This is it. We are finally here where it all matters. This is where I highlight the best technical achievements and performances of the year. This is where I get a chance to recognize all of my favorite films that I saw this past year. As always, I also have a lifetime achievement film award at the end of the post, so don’t forget about that one. For the full list of nominees, go here. Continue reading “7th I’m Jeffrey Rex Awards, Part Two – 2019”→
It is finally that time of the year again, folks! The nominations for the Academy Awards will be released on Monday (January 13th, 2020). Just in time, I am ready with my final predictions for this awards season’s Oscars nominations. Below I have tried to predict every category except for the short film categories, as I simply haven’t seen enough short films from 2019. So, without further ado, let’s get to it! Continue reading “Nomination Predictions for the 92nd Academy Awards – Special Features #58”→
The following is a review of The Irishman — Directed by Martin Scorsese.
I’ve said it before, and I’ll say it again. Martin Scorsese would arguably be on the Mt. Rushmore of American filmmakers if such a thing existed. When Scorsese laments the supposed death of cinema or questions the artistic merit of modern blockbusters, you listen to him for the simple reason that few people know the medium, the power of cinema, or the industry as well as he does. His understanding of the power of what is within or out of the frame of cinema is indescribable. Though his detractors may suggest that he is a glorified gangster film director, nothing could be further from the truth. With The Irishman, Martin Scorsese has given us a haunting and elegiac historical epic disguised as a greatest hits gangster film that stresses that, even in the autumn of his life, the master hasn’t missed a beat. Continue reading “REVIEW: The Irishman (2019)”→
The following is a spoiler review of Once Upon a Time in Hollywood — Directed by Quentin Tarantino.
Quentin Tarantino has claimed that he will only direct ten feature films, and, since he considers his latest film to be his ninth, that puts a lot of pressure on this penultimate effort as a director. Having just recently rewatched and reviewed his filmography as a director, I had prepared myself for this undeniable event film for cinephiles. When I walked out of the theater, I had a soft smile on my face, and I kept on repeating these words to my mother and sister, who had seen the film with me: “I think this is his most moving movie yet.” Once Upon a Time in Hollywood is tense but also laidback, sometimes violent but generally quite kind, and much to my own surprise, as Tarantino ended his film, I had a lump in my throat — I got a little bit choked up. Continue reading “REVIEW: Once Upon a Time in Hollywood (2019)”→
Netflix is slowly changing its reputation. For the longest time, people saw Netflix as a dumping ground for original films. But even though Netflix still hasn’t managed to learn exactly how they can promote all of their films on the service, it would be foolish to call Netflix a dumping ground nowadays. Instead, I think it is time to accept the fact that Netflix is a place where certain dreams come true. Maybe not for actors or other hopefuls, but for filmmakers — both those who have lost major studio backing and those who are just starting to make a name for themselves. Continue reading “Netflix Revives Dream Projects – Special Features #32”→
The following is a review of HBO Films’ Paterno — Directed by Barry Levinson.
HBO Film’s Paterno is a drama about the true story of the Jerry Sandusky-sex abuse cover-up, which found legendary head coach Joe Paterno (played by Al Pacino) in the spotlight as he failed to properly report and follow-up on the serious allegations. Continue reading “REVIEW: Paterno (2018)”→
Way back in 1969, Mario Puzo’s novel The Godfather was published – not long thereafter Paramount Pictures had the film rights, and were to adapt it into a movie. Sergio Leone passed on the film, as did Peter Bogdanovich – finally Francis Ford Coppola signed on, and the rest is history.