A Reel Review - GODZILLA X KONG: THE NEW EMPIRE

After ten years and four movies, the Warner Bros.-produced MonsterVerse series of connected films have yet to come within a Kong fart of their potential. Yes, they delivered good monster-fights here and there (or sometimes not at all), but every movie has been bogged down by endless streams of paper-thin cliché characters, and overcomplicated dumb plotting. For their fifth try at it, GODZILLA X KONG: THE NEW EMPIRE, the pressure is on for someone, anyone to finally learn a lesson or two from the past. 

 

Set after the events of GODZILLA VS. KONG (2021), Godzilla is roaming the Earth battling rampaging titans, while Kong is back in Hollow Earth (beneath the surface), fighting everything he sees. When a strange series of signals from Hollow Earth begins driving Godzilla crazy, Dr Ilene Andrews (Rebecca Hall), heads to Hollow Earth to investigate, with her Skull Island stepdaughter (Kaylee Hottle), a titan-doctor (Dan Stevens), and a conspiracy podcaster (Brian Tyree Henry). 

 

Directed by Adam Wingard, GODZILLA X KONG is mostly spread out over three fronts; the team of scientists looking for the phantom signal, Kong doing the same, and Godzilla stomping around the surface. While the scientists bumble around the underground jungle, Kong crosses paths with an adolescent ape and befriends him, while Godzilla goes into a video-game side-quest, defeating powerful titans and collecting their energy in preparation for a fight. 

 

The hook of the film is there is a coming threat on its way from beneath our feet, and the three storylines must come together to defeat it. Much like the previous films, it’s a simple yet serviceable plot, which is once again bogged down by sloppy storytelling. Things come off as too complicated, and human characters are reduced to just blurting out exposition. The giant monster fights are there, and most are fairly fun, but there’s not much behind the spectacle and are instantly forgettable. 

 

Despite having top billing, Godzilla’s involvement amounts to an extended cameo (again), and Kong gets most of the screentime. Kong’s storyline is the best part of the film; as the aging giant ape has many, long scenes without dialogue in his adventures and encounters. Kong gets the best scenes and best moments; a battle where he uses a smaller ape as a club is a hoot. 

 

Like the previous films, GODZILLA X KONG doesn’t care much about logic. Characters cover great distances in seconds (distances that previously took half the movie), things change when the plot demands it (their ship was wrecked, but magically comes back when needed), and the script is packed with easy outs for the characters (Kong is hurt, oh we have this device buried right here the whole time to help). It all has a make-it-up-as-we-go feel to it. CGI isn’t great, but not quite awful either. The human actors are suspiciously absent from most of the monster effects, and they often feel like they’re in a different movie. 

 

Acting is all over the place. Rebecca Hall does her best to make good on a weak script. Dan Stevens is presented as a David Lee Roth rip-off and it’s laughable. Brian Tyree Henry gets some funny lines but is baggage. Kaylee Hottle, a deaf actress, is excellent. 

 

After a big noisy final battle, GODZILLA X KONG wraps up quick and doesn’t spend a second coming down from the fight; almost as if they knew we couldn’t wait for it to end. In the bigger picture, if this was the event we have been waiting ten years and four movies for, it doesn’t come close to being worth the build and wait. The whiff of a Kong fart has yet to be found. 

 

BOTTOM LINE: Fuck it 

A Reel 40: The Year in Film 1984

Here in 2024, there is a GHOSTBUSTERS movie and a DUNE movie in theatres. Forty years ago, in 1984, there was also a GHOSTBUSTERS and DUNE running in theatres. This odd occurrence sent down to us by the Movie Gods draws attention to the glorious year of 1984; one of the most prolific and historic years in all of cinema. 

 

The worldwide box office was won by the Eddie Murphy comedy BEVERLY HILLS COP, followed closely by GHOSTBUSTERS. Right behind them would be INDIANA JONES AND THE TEMPLE OF DOOM, GREMLINS, and THE KARATE KID. Overall, U.S. box office grosses would reach $4 billion for the first time. On the awards front, Best Picture would go to the biographical drama AMADEUS.

 

In the early months of 1984, we would be seeing films destined for classic status. Kevin Bacon would dance into our hearts in FOOTLOOSE, Rob Reiner would harpoon (with love), the rock band with THIS IS SPINAL TAP, Ron Howard would take us under the sea with SPLASH, and Michael Douglas would team up with Kathleen Turner in ROMANCING THE STONE. 

 

Also in these early months we would see two Stephen King adaptations: CHILDREN OF THE CORN and FIRESTARTER. Also unspooling would be POLICE ACADEMY, GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES, ICEMAN, FRIDAY THE 13: THE FINAL CHAPTER, THE BOUNTY, and the Robert Redford-slugging THE NATURAL. 

 

Summer rolled in hot. Famed director Sergio Leone delivered his epic ONCE UPON A TIME IN AMERICA, the final frontier was back in STAR TREK III: THE SEARCH FOR SPOCK, Tom Hanks got wild in BACHELOR PARTY, the galaxy was saved in THE LAST STARFIGHTER, Kermit went to the Big Apple in THE MUPPETS TAKE MANHATTAN, and hearts were broken in THE NEVERENDING STORY. 

 

Also in the Summer there was STREETS OF FIRE, THE CANNONBALL RUN II, CONAN THE DESTROYER, REVENGE OF THE NERDS, RED DAWN, PURPLE RAIN, SHEENA, and the cult-classic THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE 8^TH DIMENSION. 

 

In Fall and Winter, we got the military drama A SOLDIER’S STORY, James Cameron’s game-changing THE TERMINATOR, Freddy Krueger would make his debut in A NIGHTMARE ON ELM STREET, and Sally Field would win an Oscar for PLACES IN THE HEART. 

 

Bill Murray would take his first step into dramatic acting in THE RAZOR’S EDGE, George Burns would play the Prince of Darkness (and our Lord), in OH GOD, YOU DEVIL!, Chuck Norris would break out of a POW camp in MISSING IN ACTION, Jeff Bridges would come to our planet in STARMAN, the galaxy would be explored in 2010: THE YEAR WE MAKE CONTACT, George C. Scott would play Ebenezer in the definitive A CHRISTMAS CAROL, Goldie Hawn would get political in PROTOCOL, and Michael Keaton would play a gangster in the comedy JOHNNY DANGEROUSLY. 

 

By the end of the year, we had David Lynch’s adaptation of DUNE, and the final film from famed director David Lean: A PASSAGE TO INDIA. 

 

1984 would be the film debut of directors Joel and Ethan Coen with BLOOD SIMPLE. Also appearing on the big screen for the first time would be Johnny Depp, Sarah Michelle Gellar, Colin Firth, Val Kilmer, Lou Diamond Phillips, Tim Robbins, Tim Roth, Jennifer Tilly, Marisa Tomei, Ken Watanabe, and Michelle Yeoh. 1984 would also be the first year to see the PG-13 rating. 

 

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It is staggering to look back at 1984 and see the long list of films that are considered classics today. From kids doing karate to sci-fi to spooky temples to busting ghosts…it was a packed year from the start with many films entering pop culture for eternity. It is a stark comparison to modern times, when we would be fortunate to see a handful of films that would stand the test of time in a single year. 1984 was something special; a year worth celebrating and revisiting. 

 

 

 

 

 

 

A Reel Review: GHOSTBUSTERS - FROZEN EMPIRE

GHOSTBUSTERS has had a very up-and-down life on the big screen. After the classic 1984 film, there was a 1989 sequel that deservingly flopped which led to a long hiatus. Then came the 2016 glob-of-slime remake, and in 2021 we got the magnificent and emotional AFTERLIFE. Here in 2024, nearly 40 years since the original film changed pop culture, comes FROZEN EMPIRE. 

 

After the events of AFTERLIFE, fifteen-year-old Phoebe Spengler (McKenna Grace), is a full-fledged Ghostbuster with her family (Carrie Coon, Paul Rudd, Finn Wolfhard), in a new restart of the company now led by Winston (Ernie Hudson). Meanwhile, semi-retired original Ghostbuster Ray (Dan Aykroyd), comes into possession of a spirit-infested orb, which contains a ghost ready to send the world into a second ice age. 

 

Directed by Gil Kenan and co-written/produced by Jason Reitman (son of Ivan, director of the ’84 film), FROZEN EMPIRE has the bare bones of what all GHOSTBUSTERS films should be doing: duking it out with a pesty poltergeist. What should be simple becomes cluttered in a hurry, all due to some clunky and drawn-out exposition, way too many characters, and overcomplicated plotting. Information dumps come in word salads, the many, many, many characters take up too much time (Phoebe makes friends with a ghost, the original owner of the orb gets too much time, and the city’s Mayor makes trouble for the team), and the battle to contain the orb goes through too many turns. On top of that, the many characters are either shortchanged or off on side-quests that go nowhere (Paul Rudd and Carrie Coon are in neutral, and Finn Wolfhard is extra baggage). 

 

FROZEN EMPIRE still has its moments of fun. Some of the ghost battles and chases are a blast, and the banter between characters is very funny. The original squad of Ghostbusters get more screentime than AFTERLIFE, but still feel under-utilized. FROZEN EMPIRE is not afraid of nostalgia, most of it works, while other elements don’t do much. 

 

Acting is very good. McKenna Grace is once again a delight and owns every scene she’s in. Ernie Hudson gets some justice for his character, and Dan Aykroyd steps back into the jumpsuit of Ray very well. Bill Murray returns as Venkman and earns the best laughs. Annie Potts lights up the screen, as always. 

 

FROZEN EMPIRE is far from a disaster, but coming off the emotional punch of AFTERLIFE, lands as a weak follow-up. A good aggressive session in the editing room could solve half the problems by trimming the fat, but for now…it’s not an up or a down…but a step sideways. 

 

BOTTOM LINE: Rent it 

A Reel Recap: GHOSTBUSTERS - 1984 to Present

This week, the fifth (!) film in the ever-popular, nearly 40-year-old GHOSTBUSTERS franchise arrives in theatres. Here now to get your slime going, is a recap of the franchise on the big screen, because Reel Speak ain’t afraid of no ghost. 

 

 

 

GHOSTBUSTERS (1984)

The Ivan Reitman-directed blend of sci-fi, comedy, and horror that became a pop culture sensation that lasts to this day. Three misfit and outcast scientists, Venkman (Bill Murray), Ray (Dan Aykroyd), and Egon (the late great Harold Ramis), start a ghost-catching business in New York City. Based on a script by Aykroyd and Ramis, GHOSTBUSTERS also had a strong supporting cast of Sigourney Weaver, Rick Moranis, Annie Potts, and Ernie Hudson. The film would create a new genre by mixing several genres of film, and as a box office smash, would be credited as an early blockbuster. It would be nominated for two Oscars; Best Original Song for Ghostbusters by Ray Parker, Jr., and Best Visual Effects. Beyond that, TV shows were launched, merchandise still flies off the shelves with the iconic logo, and fans to this day visit filming locations in New York. 

 

 

 

GHOSTBUSTERS II (1989)

Unlike franchises of today which tend to crank out sequels within a couple of years, it took five years to bring the guys back together for another round of busting spiritual heads. Most of the original cast would return, as would director Ivan Reitman. Despite this, the film would open to negative reviews, and come up well short of its predecessor at the box office. It would be deemed a critical and commercial failure, and would stall the franchise for decades with Murray a long-time holdout. 

 

 

 

GHOSTBUSTERS (2016)

With a proper GHOSTBUSTERS III on ice, the decision was made to reboot the franchise with a new cast and new line of continuity. Ignoring the two previous films, this Paul Feig-directed attempt at a new franchise brought in a new cast (Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones), and was immediately met with ire from long-time fans. The film struggled at the box office and flopped, and was bogged down by mixed-to-bad reviews. Plans for a direct sequel were scrapped. 

 

 

 

GHOSTBUSTERS: AFTERLIFE (2021)

Jason Reitman (son of Ivan), teamed up with his father for a labor-of-love which finally brought the one-and-only Ghostbusters back to the big screen for the first time in over 30 years. With the death of Harold Ramis in 2014, the Reitman’s used his absence to deliver the most emotional GHOSTBUSTERS film to date. The film centered around the family of the departed Egon; his adult daughter (Carrie Coon), and her daughter (McKenna Grace), as they discover the legacy of the original Ghostbusters just as a spooky friend returns. The original cast was back to the delight of fans, along with newcomers Paul Rudd and Finn Wolfhard, and the franchise finally had a new life on the big screen. 

 

 

 

GHOSTBUSTERS: FROZEN EMPIRE (2024)

And that brings us to today. AFTERLIFE did well enough at the box office to greenlight a sequel, and the fifth overall film once again reunites the original cast, along with the cast of AFTERLIFE. Jason Reitman serves as a producer, leaving the helm to Oscar-nominated director Gil Kenan. FROZEN EMPIRE returns things to New York City, where Ghostbusters, new and old, fight to protect their home from a ghost or two that threatens a new ice age. 

 

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Bustin’ will make us feel good on March 22^nd, with previews on March 21^st. 

A Reel 10: THE GRAND BUDAPEST HOTEL

“Keep your hands off my lobby boy!”

 

This month marks the 10^th anniversary of Wes Anderson’s THE GRAND BUDAPEST HOTEL. 

 

The eighth feature film from stylistic and quirky director Wes Anderson, THE GRAND BUDAPEST HOTEL told a layered story, starting with a famed author recalling his encounter with the owner of a sad relic of a hotel. The encounter leads to the owner telling his story of his time as a lobby boy at the Grand Budapest Hotel, and his adventure with the hotel’s concierge, Gustave H. 

 

Heavily inspired by the writings of Austrian novelist Stefan Zweig, Anderson and his longtime collaborator Hugo Guinness set the bulk of their story in a fictional Europe of 1932; a Europe that was enjoying high society while on the brink of war from a fascist state. The film would explore themes of nostalgia, friendship, and love…themes that were familiar in Anderson’s films, but this time brought to life in a lush adventure taking place over several timelines. Anderson would complete the screenplay in six weeks. 

 

As with most of Anderson’s films, the cast would be an impressive ensemble. Ralph Fiennes would take the central role of Gustave in what would become career defining. The rest of the cast would include Tony Revolori, F. Murray Abraham, Adrien Brody, Willem Dafoe, Saoirse Ronan, Tilda Swinton, Edward Norton, Jeff Goldblum, Harvey Keitel, Tom Wilkinson, Jude Law, Bill Murray, Jason Schwartzman, Owen Wilson, Lea Seydoux, Bob Balaban, Lucas Hedges, and Mathieu Amalric. 

 

Filming would take place in locations across Germany. A defunct shopping mall which had miraculously survived bombing raids from WWII was re-dressed as the hotel’s lobby. The film would utilize several different aspect ratios, to act as a visual aid to the viewer as to which timeline was being presented. The uses of color and simple visual effects were dazzling. Alexandre Desplat provided the score. 

 

Upon release, THE GRAND BUDAPEST HOTEL was met with critical acclaim; heralded as one of the best films of 2014 and of this century. Its box office revenue would make it Anderson’s highest grossing film. At the 87^th Academy Awards, it would be nominated for nine Oscars, including Best Picture and Director, winning four. It would win Best Film at BAFTA, Best Picture at Critics Choice, and Best Film – Musical or Comedy at the Golden Globes. 

 

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It is rare that this Blogger will mark the anniversary of a film that is only a decade old, but in the case of THE GRAND BUDAPEST HOTEL, an exception had to be made. It is easily the best film of Wes Anderson’s rich filmography, and every viewing seems to reveal more. The film is saturated in nostalgia; remembering a bygone era that we will never see again and yet we yearn for. While it is very funny, repeat viewings reveal that sad melancholy of all things that must pass from this world, things that include grand hotels, the independence of a country, and our loved ones. When there is a need to get away and get wrapped up in action, adventure, romance, and a touch of tragedy...check into the Grand Budapest Hotel and enjoy your stay. 

 

 

“There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity. And he was one of them.” 

A Reel Review: Oscar Night - The Good, The Bad, & The Glorious

The 96^th Academy Awards were last night, honoring the best in cinema in the year that was 2023. As expected, Christopher Nolan’s towering biopic OPPENHEIMER lead the way, winning seven of its 13 nominations, including Best Picture and Director for Nolan. There were only two other multiple-award winners: the horror/comedy POOR THINGS with four wins, and the historical drama ZONE OF INTEREST with two. 

 

Here is how the entire show landed in The Good, The Bad, and The Glorious. 

 

 

 

THE GOOD

 

-Host Jimmy Kimmel was perfect in the role once again. His familiarity with the celebrity audience kept everything in good sport, and he wasn’t afraid to poke fun at himself or the ceremony. The earlier start time was much appreciated by the East Coast, and the show finished in under 3.5 hours. 

 

-This Blogger has griped about the musical performances in the past, but this year things were different. The breathtaking performance of Wahzhaze (A Song for my People) from KILLERS OF THE FLOWER MOON was one for the history books, and Ryan Gosling’s thrilling showstopper I’m Just Ken (from BARBIE), brought down the house. Gosling was joined on-stage by surprise guests Slash and Wolfgang Van Halen (son of Eddie). 

 

-Billie Eilish made Oscar history. At 22 years old she is the youngest person ever to win two Oscars in any category. Last night she took home the gold for What Was I Made For, from BARBIE.

 

 

THE BAD

 

-In honor of the 50^th anniversary of THE GODFATHER PART II later this year, famed actor Al Pacino was chosen to announce Best Picture. There was no lead-up or recap of all the nominees, and Pacino did an awkward read which took the drama out of the room. 

 

-Emma Stone’s shock win for Best Actress (POOR THINGS), over the favored Lily Gladstone (KILLERS OF THE FLOWER MOON), was the biggest surprise of the night. The Academy passed up a chance to make history (Gladstone would have been the first Native American to win), and the loss made FLOWER MOON the fourth straight Martin Scorsese film to get completely shut out at the Oscars. 

 

-Although the In Memoriam had a dazzling presentation, there were notable omissions, including the late great Burt Young (ROCKY). 

 

-With Pixar’s ELEMENTAL losing Best Animated Feature, this is longest the famed animation studio has ever gone without winning that category. They had never lost three years in a row. 

 

 

THE GLORIOUS

 

-In a terrific and long-overdue nod to the rich history of the Oscars, the acting awards were presented by winners from the past, with five presenters for each acting category. It was a thrill to see past winners like Nic Cage, Tim Robbins, and Rita Moreno back on the stage again. 

 

-GODZILLA MINUS ONE winning for Best Visual Effects, giving the big guy his first win! 

 

-Speaking of firsts, there were well-earned first-timers including Christopher Nolan, Robert Downey Jr. and Cillian Murphy (OPPENHEIMER), Wes Anderson (Best Live-Action Short), and Da’Vine Joy Randolph (THE HOLDOVERS). 

 

-And of course, OPPENHEIMER taking home Best Picture. This had been a lock since its premier in July, and maybe even before that. Despite the outcome being known so well in advance, the show was still the most entertaining ceremony in years. Predictable is okay as long as things are kept fun, because like any good movie…the journey is just as important as the destination. Wonderful night for Oscar. 

 

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See all the winners and nominees HERE

A Reel Opinion: Oscar Picks, Part 2

The 96^th Academy Awards are just a few days away, and every film writer, blogger, cinephile, and movie nerd is out there reading the signs and reaching out through the Force to pick the winners. In Part 1 (HERE), this Blogger made his picks in the acting categories. In this second and final part, picks will be made in the elemental categories leading to Best Picture. 

 

This year much of the drama is out of the room, as the entire season has been dominated by one film. Although anything can happen, the race for Best Picture has been over since July of last year. We know this from pre-cursers this Awards Season: the Screen Actors Guild awards (SAG), Producers Guild awards (PGA), Directors Guild (DGA), the Golden Globes, and the British Academy of Film and Television Awards (BAFTA). These guilds and awards bodies are the best indicator, and feed our gut-instincts when making our own picks. 

 

Here now are Reel Speak’s picks for the major categories honoring the best in film of 2024. 

 

 

 

BEST ADAPTED SCREENPLAY

This year, the screenplay categories are tricky. Not just because the nominees are deserving (they all are), but with the Writers Guild (WGA) pushing their awards to after the Oscars due to last year’s strike, we don’t have our standard indicators. Christopher Nolan’s behemoth OPPENHEIMER should be the favorite, but it did notwin here at BAFTA or at the Globes. The favorite here just may be AMERICAN FICTION, which is has been heralded for its screenplay in many Hollywood circles. AMERICAN FICTION is a story about writing and creating, and Hollywood does love those types of stories. 

 

Winner: AMERICAN FICTION

 

 

 

BEST ORIGINAL SCREENPLAY 

The French legal drama ANATOMY OF A FALL has so far won this category at the Globes and BAFTA, and has also been awarded for its screenplay in other awards circuits. Always pick the film that has momentum.  

 

Winner: ANATOMY OF A FALL  

 

 

 

 

BEST FILM EDITING

In 96 years, two-thirds of all Best Picture winners were also nominated for editing, including a streak of 33 consecutive years from 1981 to 2013. Christopher Nolan’s OPPENHEIMER won this at BAFTA, and just this week won at the all-important American Cinema Editors (ACE). This Oscar was basically won in that breathtaking scene of the first atomic bomb detonation…edited into a shocking presentation.  

 

Winner: OPPENHEIMER

 

 

 

 

BEST DIRECTOR

No contest here. Christopher Nolan has been winning this category all year, including the vital win from the Directors Guild, and will win the last directing honor of the year. 

 

Winner: Christopher Nolan for OPPENHEIMER

 

 

 

 

BEST PICTURE

As this Blogger has been saying all season, this race has been over since last July. OPPENHEIMER has won all the major awards; Globes, BAFTA, PGA, and the all-important SAG ensemble. No other film has dominated the cinema conversation, won more, and accomplished more. It was all we’ve talked about since the beginning of the year, and it’s what we’ll be talking about at the end of Oscar Night. 

 

Winner: OPPENHEIMER

 

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The 96^th Academy Awards are this Sunday at 7pm. 

 

A Reel Opinion: Oscar Picks, Part 1

It’s Oscar Week! 

 

The 96^th Academy Awards are this coming Sunday, and the time has come to read the tea leaves, polish the crystal ball, and use the Force to fill out our ballots correctly…which brings us to Reel Speak’s Oscar Picks, Part 1. 

 

This year much of the usual drama is not here, as there is one film poised to dominate and take home the biggest prize in cinema. Best Picture is a lock, and most of the drama will come from two of the acting categories and how many BARBIE fails to win. Despite this, the same approaches are in play when predicting Oscar winners. Every year it comes down to stats and trends, momentum, and good old-fashioned gut instinct. Paying close attention to the pre-cursors is also vital; the Screen Actors Guild (SAG), Producers Guild (PGA), Directors Guild (DGA), and Writers Guild (WGA)…along with the Golden Globes and the British Academy of Film and Television (BAFTA). The Academy can often ride the wave set before them, so whoever wins early and often is usually the favorite. 

 

For this Part 1 of Oscar Picks, this Blogger will pick the winners in the acting categories. 

 

 

 

BEST SUPPORTING ACTRESS

Da’Vine Joy Randolph from Alexander Payne’s THE HOLDOVERS is in position to complete a sweep. She has already won at the Globes, SAG, and BAFTA…and it is very rare that a sweep is not completed in the acting categories. No contest here. 

 

Winner: Da’Vine Joy Randolph from THE HOLDOVERS 

 

 

 

BEST SUPPORTING ACTOR

Robert Downey Jr. from Christopher Nolan’s OPPENHEIMER is also ready to sweep away, having won at SAG, Globes, and BAFTA. His slimy politician character in OPPENHEIMER is a far cry from the wise-cracking superhero he came to be closely associated with over the last 15 years, and his demonstration of range and finding a few new gears will be awarded. Considering his once troubled past, the Academy will not pass up the chance to generate what should be a very emotional and triumphant moment. 

 

Winner: Robert Downey, Jr. from OPPENHEIMER

 

 

 

BEST ACTRESS

This is where the drama finally arrives, as this has become a race between Emma Stone from POOR THINGS, and Lily Gladstone from Martin Scorsese’s historical epic, KILLERS OF THE FLOWER MOON. Stone won at BAFTA, and split with Gladstone at the Globes (Stone won in the comedy category, Gladstone won in drama), but Gladstone won the all-important SAG. Stone’s performance was bombastic, but Gladstone was unnervingly subtle, which often wins. It’s close, but if Gladstone wins she would be the first Native American to win an Oscar. No way the Academy passes up that moment. 

 

Winner: Lily Gladstone for KILLERS OF THE FLOWER MOON

 

 

 

BEST ACTOR

Another tight race, with Cillian Murphy from OPPENHEIMER and Paul Giamatti from THE HOLDOVERS duking it out for the strap. Just like the ladies, they split the awards at the Globes, and then Murphy won at BAFTA and at SAG. Giamatti has been chasing an Oscar for what seems like forever, and voters could go for the unspoken lifetime-achievement award. But if it’s this close, the Force says to go with the guy who belongs to the film that has been winning all the gold so far. Murphy wins. 

 

Winner: Cillian Murphy for OPPENHEIMER

 

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Thursday: Reel Speak makes the picks in the elemental categories leading to Best Picture. 

 

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The 96^th Academy Awards are this Sunday at 7pm. 

A Reel Review: DUNE PART TWO

When David Lean delivered his 1962 masterpiece LAWRENCE OF ARABIA, he set a standard for the cinematic epic that many filmmakers are still chasing today. Set against a massive backdrop of an unforgiving desert in the middle of a widespread war, where the actions and beliefs of one man have ripple-effects for millions, LAWRENCE has always had a kinship with Frank Herbert’s 1965 sci-fi novel, Dune. In 2021, director Denis Villeneuve delivered his first part of the novel, and this year brings it to a close. 

 

Hot on the heels of the events of the first film, Paul (Timothee Chalamet), and his mother Jessica (Rebecca Ferguson), flee into the desert of the planet Dune after their family is betrayed and destroyed by the power-hungry Harkonnen, led by Baron Harkonnen (Stellan Skarsgard), for the rights to mine the powerful spice element from the planet. The spice effects the senses of Paul, which leads the wild Fremen, led by Stilgar (Javiar Bardem), to believe Paul is the prophesized chosen one to lead their war to freedom. 

 

Directed by Villeneuve and based on the first novel by Frank Herbert, DUNE PART TWO is an epic packed with plot. Picking up within hours (or even minutes), after the first film concludes, Paul and Jessica are in an uneasy alliance with the Fremen, who are split down the middle in believing in Paul’s chosen-one status. It’s a battle of faith vs. leadership, and as the war for control of the planet intensifies, puts Paul in a delicate position. 

 

Along the way Paul develops a relationship with young Fremen fighter Chani (Zendaya), who does not quite buy into the chosen one prophecy. Meanwhile, the game of galactic politics and betrayal comes in, as the Emperor of the Known Universe (Christopher Walken), and his daughter Princess Irulan (Florence Pugh), are revealed to have been behind the war. It’s an intricate web of storylines, all of which Villeneuve weaves together in expert fashion. 

 

Villeneuve explores themes of faith, war, family, and responsibility in the foreground of a massive canvas. The war for the planet comes to us in a stunning presentation, with breathtaking visuals that have to be seen to be believed. The battle scenes, ranging from thousands of combatants to just two men with knives…are harrowing. Hans Zimmer’s score is excellent. 

 

Also excellent is the acting. Timothee Chalamet turns in his best career performance and his chemistry with Zendaya drives the film. Rebecca Ferguson is solid as always. Florence Pugh steals every scene she is in, but the overall show is stolen by Austin Butler, who emulates the accent and tone of his character’s uncle Baron…played by the always reliable Stellan Skarsgard. Javier Bardem is electric. The rest of the cast, including Josh Brolin, Dave Bautista, Christopher Walken, Lea Seydoux, Charlotte Rampling…and one or two surprise cameos…are all exceptional. 

 

At 165 minutes with a lot going on, DUNE PART TWO is a lot of movie, and the ending, full of tragic irony, will send viewers staggering out of the theatre. This is one of those cinematic achievements that will be talked about and revered for decades to come. David Lean would have loved it. 

 

BOTTOM LINE: See it