Spotlight (2015)

In 2001 the "spotlight" team at The Boston Globe comprised of editor Walter "Robby" Robinson (Michael Keaton), and reporters Mike Rezendes (Mark Ruffalo), Sacha Pfeiffer (Rachel McAdams) and Matt Carroll (Brian d'Arcy James). This small group of investigative reporters would usually spend over a year on stories which require extra digging, in depth analysis, or extensive research. They work together like detectives putting together puzzles and bouncing ideas off of each other while tossing a tennis ball against the wall and eating leftover pizza. These are the kinds of stories that win awards, the kinds that change the world.

They begin investigating sexual abuse trends from Catholic priests in Boston. They interview a few victims, meet with a few experts and soon what starts as a seemingly small albeit horrific issue turns into a much bigger problem. There could be as many as 87 priests in Boston alone. They see that the roots go deeper than just a few bad seeds. It's a booming psychological phenomenon that spreads from the Vatican to all across the world.

But, like any good mystery, when they start getting closer they are met with more and more obstacles to overcome. They face pushback from the church, uncooperative sources, and run-ins with lawyers. And then there is a terrorist attack on the World Trade Center and the spotlight reporters are pulled to work on 9/11 reports. It takes a long time for them to get the story right because they know if they don't get it ~right then it will just be buried or overlooked.

They deal with this sensitive material with kindness but also straightforwardness. Their interviews are done as any journalist would - to get to the bottom line. In one interview one of them asks "Did you ever think about telling anyone?" He responds, "Like who, a priest?" These are awful, painful stories about people who were taken advantage of and deeply affected. In the end, it gets to the reporters too. There are some striking emotional scenes where they express the unfairness of the situation and the dire need to tell the public what was going on.

Through the tenacity, the long hours, and the brilliance of this team of reporters, one of the biggest scandals was uncovered and released to the public. The last scene is so emotionally overwhelming and yet also wonderfully understated. When the story is released, the phones at Spotlight are ringing off the hook almost exclusively with victims wanting their story to be told and heard. This is important.


It's a film that ranks alongside the gold standard of journalism films, "All the President's Men." It depicts the journalistic process without glamorizing: it's tough work. Those journalists are out on the streets, going door to door, rummaging through old boxes in libraries and courthouses day in and day out. But through their rigorous work, people who were afraid can have a voice. Their story can be told.

It's a movie about a team and a team made this movie. If the Oscars were to give an award for best performance from a group, this movie would deserve it. No one actor stands out, but they all do their job and get the job done. Other performances include Stanley Tucci, John Slattery, and Liev Shreiber. The many supporting acts come together to build this masterpiece.

Perhaps even more credit is due to director Tom McCarthy who didn't glorify the abuse but didn't minimize the damage. He paced it perfectly and created an intense drama even when the audience knows the outcome. This is one of the best - if not the very best - films of the year. 10/10

Extremely Loud and Incredibly Close (2011)

"I would find the lock because that was the only way to extend my 8 minutes with him. Maybe I could extend them forever." This quote accurately describes what it's like to grieve. You hold onto small things and memories and ideas in hopes that the person you lost will never fade entirely. It's a journey. A death, for the surviving friends and family, is not a one-time event. It doesn't end at the funeral. It is always just there.

"Extremely Loud and Incredibly Close" is an acute examination of grief. 11-year-old Oskar Schell (played by the talented Thomas Horn) lost his father, Thomas (Tom Hanks) to the World Trade Center attack on September 11, 2001. Now a day that lives in infamy to all Americans also lives on as a constant reminder to all those who lost family members on that tragic day.

Oskar finds a key amongst his father's old belongings a year after his death. Through a series of notes, newspaper clippings and clues he wanders around New York into the homes of several strangers (all with the last name Black - a clue) searching for answers. He goesJohn Goodman), lying about the various holidays throughout the school year to accomplish his task. He visits many people and learns many things and makes some new friends. The notion that an 11-year-old boy can wander into the homes of strangers all over New York City safely is incredulous, but some of these visits are impressionable nonetheless. His first visit with an Abby Black (Viola Davis) stands out and sets his journey off on the right emotional foot.
past his doorman (

It is widely understood and recognized that there are five stages to grief. Of course every experience is different but these stages provide a framework for what many people experience when someone they love dies. This story examines those stages through Oskar.

Denial
The day of the attacks, Thomas calls home and leaves messages on the answering machine. Oskar was the only one who heard them and he hides under the bed and lies when his mom asks him about it. He later rips out the answering machine and hides it somewhere and says "it was like it never happened."

Anger
Oskar yells at his mom (Sandra Bullock) in a fury and says he wishes it were her in the building.

Bargaining
When he meets the mysterious renter living in his grandma's basement (Max von Sydow), he explains his story to him as quickly as he can get the words out. "And I don't know a single thing that I didn't know when I started! It's these times I miss my dad more than ever even if this whole thing is to stop missing him at all! It hurts too much." He would do anything to stop missing his dad - to have the pain go away, and so he obsesses over this fool's errand to do something about it.

Depression
Oskar throws a big box of keys in a flurry and runs along a bright red wall. He begins to realize that their search may be futile, and then he listens to those messages again and cries."

Acceptance
In one of the few scenes Oskar shares with his mom, they sit together on the bed and cry together. They (finally) connect with each other and share memories and ~talk. It is the beginning of the road to acceptance.
Director Stephen Daldry is no stranger to stories centered around tragic events ("The Reader" happens during the Holocaust). Though a good storyteller, this movie doesn't leave a hopeful or happy impression, but a depressed one.

This movie is hard to watch. No one wants to know, remember, or feel what it feels like to lose someone. For those who did lose someone at 9/11, I'm so sorry. No film or story can provide the catharsis for such a tragedy and in many ways this film is far too simplistic to make the attempt. Over 4,000 people died that day, and yet these contrived stories try to help us feel happy about the one person who made peace. Those real-life people didn't have a puzzle to solve, they have a family member who is gone. Sometimes it all feels too forced and manipulative with an unclear picture at the end for what the ~point is.

While an interesting analysis on grief with two good performances from Von Sydow and Horn, the film is empty of any solid resolution. 5/10



Hugo (2011)

I remember hearing that Martin Scorsese (Goodfellas, The Departed) was directing a movie called Hugo, rated PG. To say I was skeptical was an understatement. Exiting the theater, however, I had the distinct feeling that I now understood the gangster director better than I ever did watching Gangs of New York. Among many other things, Hugo's magic is found in the apparent affection Scorsese had for this creation.
The story follows a boy named Hugo Cabret (Asa Butterfield). The 12-year-old orphan is depicted in tattered clothes, disheveled hair and a perpetually dirty nose. Following after his late father (Jude Law), he runs the clocks in the railway station - though to do so while avoiding the station's constable (Sacha Baren Cohen), intent on sending him to the orphanage, is not easy. He doesn't say much at first, but his eyes tell a story of their own. His passion lies in the old automaton that his father left him and he stresses and thieves to get it working again. With the help of his new friend Isabelle (Chloe Grace Moretz, straight outta Kickass), they fix the automaton just enough for it to draw them a picture - a picture that leads them back to the famed film director Georges Melies.
It's based off the novel The Invention of Hugo Cabret by Brian Selznick. By itself, the story is lovely, but it's even more magical when seeing it connect to Scorsese on a personal level. In an interview, Scorsese has said that he identified with the young Hugo's lonely voyeuristic upbringing. As a young boy, Scorsese was very ill with asthma and spent much of his time indoors at the movie theater. In many a sense, it's semi-autobiographical. But Scorsese isn't just Hugo, he's also Melies. An inventor and filmmaker, Melies was instrumental in early film and in special effects. Small films like A Trip to the Moon and The Impossible Voyage are still remarkable and iconic. Scorsese filmed this film in 3D and it's beautiful. The opening shot zooming over Paris is striking, bright, and impressively detailed. 

This is largely a movie about movies. What film lover doesn't love that? Hugo's sad eyes light up when he goes to the pictures. The dawning of the cinematic world is unfolded before the children's eyes (and our own). It celebrates movies by reflecting back on where we've been and paying tribute to those we owe so much. It paints a beautiful picture of the power that film has on us. Because through movies, we can see our dreams. 

Beyond that, the story itself is deeply emotional. Sir Ben Kingsley plays Monsieur Melies himself. There are some incredibly touching scenes of him lamenting the loss of his work and the decline of his career. He cries at the thought of his films being melted and destroyed and his life's work unseen and unappreciated. These scenes are some of the best in the film.

All the elements blend together for a perfect love letter to the movies we all love and hold dear. Asa Butterfield and Chloe Grace Moretz model our own discovery and longing for adventure while we get to learn about the story played by the veteran actors. Beside Kingsley, Christopher Lee delivers an exemplary supporting performance.

Despite its PG rating, it appeals more to adults in a family friendly way. I can't say I would have appreciated it as much as a child than I do as an adult. Either way it's wonderful to see this other side of Martin Scorsese through this beautiful tale. 9/10

Blade Runner (1982)

It's funny watching old sci-fi movies in the Year Of Our Lord 2016 to see how far off we predicted the future. "Back to the Future II" brought flying cars and hover boards to 2015. "Fahrenheit 451" banned books, and the jury is still out on whether a nuclear apocalypse will be here in 2029 as predicted by "Terminator." "Blade Runner" zooms in on dystopian Los Angeles of 2019, which looks like an overpopulated, gothic Tokyo/Hong Kong hybrid where cars zoom through the sky. The phones may still belong in the '90s, but this fictitious future for America depicts a moody, dark ambiance that has given this cult classic its well-deserved recognition as a pilot for sci fi movies.
In this universe, the Tyrell Corporation manufactures genetically engineered "replicants" that are visually indistinguishable from humans. Their use on Earth has been banned so they work, instead, on outer colonies as slaves. Certain cops known as "Blade Runners" dispose of rogue replicants loose on earth. Harrison Ford plays ex-Blade Runner Rick Deckard come out of retirement to hunt down four replicants on the loose.
The source material, "Do Androids Dream Of Electric Sheep?" poses some fascinating questions about what it really means to be human. The film noir elements and examination on morality and science make the film go beyond skin deep. It's an action film interwoven with symbolism and ambiguity and while you might not "get it" on first viewing (or fifth) it is applause worthy.
These human questions on our existence - our rights, our abilities - are the driving force that make "Blade Runner" a revelation when the rest of the movie falls short. Unfortunately, the flaws outweigh the beauty. It seems that behind all of this ambiguity and thoughtfulness, the "why" is missing. These replicants have returned to Earth to seek their maker and extend their meager 4-year life span and yet it seems of the utmost importance that they be terminated. They kill some, yes. But there is no looming apocalypse, no maniacal killing sprees, no imminent threat to human existence besides those within the Tyrell Corporation. So, why kill the replicants? Now, there are arguments that the real villain is actually Deckard, not the replicants, and I subscribe to this theory. I find it the most fascinating conclusion, but I also find the lack of clarity frustrating. It is possible to create complex, ambiguous metaphors in film with more careful crafting of the narrative.
Harrison Ford plays no Han Solo in his interpretation of Deckard. I'd go so far as to say he was miscast in this role. It's no secret that there were issues with the casting as well as disagreements between Ford and director Ridley Scott. However it's unfortunate how bored Ford seems in the role (and don't get me started on that awful voice-over in the theatrical cut). Ford is at his best when he can be charming, likable, and funny. Perhaps I'm biased by selecting someone like Bruce Willis or a young Tom Cruise because I have seen the future of their sci-fi movies like "12 Monkeys" or "Minority Report." Deckard's character is intriguing, especially if you consider that he could also be a replicant. This is the most compelling facet of the plot, however vaguely it may be alluded to. It's unfortunate this character wasn't better interpreted.As it goes with so many of these stories, our protagonist falls in love with a replicant (played by Sean Young). She doesn't know she is a replicant until Deckard tells her. While she wrestles with this reality of her existence, Deckard forces himself upon her. Now, there are arguments for Deckard helping her "come to terms" with her existence, but I cannot see anything in this scene other than rape. It is the most awkward kiss I've ever witnessed on a screen, Deckard is incredibly disagreeable as a character, and how can we just look past the fact that he raped her?? Did everyone else watch the same movie as me? If there weren't enough other things to dislike, this scene alone is a total buzzkill.
The character that does stand out is the replicant leader Roy Batty (Rutger Hauer). His character shows the emotional complexity that I would hope from a layered movie like this. The final scene between him and Deckard is the best scene in the movie. I cared far more about the outcome of his character than I did of Deckard. Darryl Hannah as Pris was also good.
The other star of the movie is, of course, director Ridley Scott. Now famous for "Gladiator," "Black Hawk Down," and others, he was then known just for his work on "Alien." He had a magnificent vision for this neo-noir resulting in SEVEN different versions of his work. S-e-v-e-n. He worked tirelessly to perfect the film without studio restrictions and preferences. I admire his tenacity and his vision for this work of art.
I watched the theatrical cut, the director's cut, and the final cut. My first impressions of "Blade Runner" (all pretty negative) stemmed from the theatrical cut which has a lot of flaws, including the hokey ending and that terrible, terrible voice-over. The Final Cut certainly is a vast improvement and I felt like I ~understood "Blade Runner" better from watching it. This version also hints more at Deckard being a replicant himself with the weird unicorn sequence. Scott himself has said that Deckard is a replicant though it isn't overtly stated in the film, and this is the most fascinating arc of all, in my eyes. Perhaps this year's "Blade Runner 2049" will shed more light on this subject once and for all.
While I enjoyed the Final Cut better, "Blade Runner" still doesn't do it for me. It belongs in a museum with its important place in history, but a mere glance will do. It's really slow and the dialogue and narrative don't live up to its potential.
There are a few key things viewers should know about this film before watching. First of all, it's really slow, and the dialogue does not live up to its potential. As far as its place on the Top 100, I believe "Aliens" and "Terminator 2" are far superior sci-fi films. 4/10
Other Notes:
Directed by Ridley Scott
Nominated for 2 Academy Awards for  Best Art Direction and Best Visual Effects
Ranked #97 in AFI's Top 100 Years... 100 Films in 2008

Unforgiven (1992)

Twenty-four years after the release of “Unforgiven,” Clint Eastwood is widely recognized as a decorated director, actor, and producer. He’s also a familiar Oscar contender for movies like “Mystic River,” “Million Dollar Baby,” “Letters from Iwo Jima” and “American Sniper.” To older audiences, he is The Man with No Name of the 60’s spaghetti westerns and Dirty Harry of the violent cop movies in the 70’s and 80’s. Clint Eastwood is a cultural icon.
“Unforgiven” is the hinge. It’s the springboard. It connects the famed cowboy of the mid 20th century to the award-winning artist of the 21st. And it’s brilliant that not only is this film an artistic masterpiece, it’s a Western.
Eastwood directs and stars in the story of William Munny, famed for his cold-blooded murders of the past and now a repentant widower raising two children. He’s left his life of thievery and violence for hog farming, though it’s apparent the profession doesn’t suit him well.
The crux of the plot centers around events occurring in 1800’s Big Whiskey, Wyoming. A reward is out to kill two cowboys who disfigured prostitute Delilah Fitzgerald (Anna Levine) after a lenient sentencing from local sheriff Little Bill Daggett (Gene Hackman). Munny is approached by the Schofield Kid (Jaimz Woolvett) to bring him out of retirement and partner up for one last ride. There are other characters along the road including Munny’s old friend Ned Logan (Morgan Freeman) and gunfighter English Bob (Richard Harris). But everything else is a side story. The film specifically zeroes in on Munny and Little Bill.
After watching it twice, what resonated with me the most may seem surprising. Certainly the sombre tone and the epic final showdown are noteworthy, as is the layered yet subtle performance of Clint Eastwood. No, it was the actual title of the movie that seemed to pack the biggest punch. It’s the four-syllable word: Unforgiven.
Forgiveness is a noticeable theme woven in the different storylines. The women refuse to forgive the cowboys. Little Bill refuses to forgive English Bob. Though Munny was forgiven by his late wife, he couldn’t forgive himself. It’s as though he tried to believe his wife by honoring her request to abandon his life of cruelty and violence. But when push came to shove, he quickly and naturally fell back into a routine of killing and living without remorse: the guilt that haunted and overshadowed him eventually overpowered him.
In fact, there are no real heroes in “Unforgiven.” There are certainly villains. Gene Hackman, who today is far-too underrated, won an Oscar for his performance as the twisted sheriff. We want him to die, but it’s still bittersweet when it’s at the expense of Munny’s ultimate betrayal of his vow to change. It seems unfair that Munny should live for killing while Logan died for not. But this is very thing that juxtaposes Munny’s final decision to kill Little Bill and sealed Munny’s fate as a damned, unforgiven soul.
This depth sets “Unforgiven” apart from most other Westerns. It’s a Western that can be honored and remembered because it isn’t about the violence and the gunslinging (though there’s plenty of violence to be had). It’s about complex characters with hopes, fears, and hearts. The cinematography of bleak grays and browns beautifully contributes to the dark tale. I was swept by the overall mood and caught up in deeper thoughts about morality and humanity. Can we be forgiven? Do we prevent ourselves from finding forgiveness? Do people change? 9/10
Other notes:Directed by Clint Eastwood
Won Academy Awards for Best Picture, Best Director (Eastwood), Best Supporting Actor (Hackman), and Best Film Editing (Joel Cox). Nominated for Best Actor (Eastwood), Original Screenplay (David Webb Peoples), Cinematography (Jack N. Green), Sound, and Art Direction
Ranked #98 in AFI’s Top 100 Years… 100 Films list in 1998, #68 in 2008.

88th Oscar Predictions and Picks

PICTURE: Spotlight
It's a journalism movie. Of course this is my pick. But in all honesty, I think Room was my favorite movie of the year.

DIRECTOR: Tom McCarthy - Spotlight

ACTOR: Leonardo DiCaprio - The Revenant
It's about time for Leonardo, and the internet agrees with me

ACTRESS: Brie Larson - Room
No movie affected me more than this, and her performance was phenomenal

SUPPORTING ACTOR: Sylvester Stallone - Creed
This is my prediction, however, I want Mark Ruffalo to win and he was the best, imho

SUPPORTING ACTRESS: Alicia Vikander - The Danish Girl
She was so elegant and was the best part of this movie.

ANIMATED: Inside Out
CINEMATOGRAPHY: The Revenant
COSTUME: The Revenant
DOCUMENTARY: Amy
DOCUMENTARY SHORT: Body Team 12
FILM EDITING: The Revenant
FOREIGN: Son of Saul
MAKEUP: Mad Max
MUSIC: Carol
SONG: "Earned It" from Fifty Shades of Grey
PRODUCTION DESIGN: Mad Max
ANIMATED SHORT: Can't Live Without Cosmos
LIVE SHORT: Stutterer
SOUND EDITING: The Revenant
SOUND MIXING: The Revenant
VISUAL EFFECTS: Star Wars Episode VII: The Force Awakens
ADAPTED SCREENPLAY: Room
ORIGINAL SCREENPLAY: Spotlight

The Hundred-Foot Journey (2014)

“The Hundred-Foot Journey” is largely a movie about food. It tries to romanticize the kitchen but sadly can’t quite get the audience to get emotional over their dinner like “Ratatouille” or “Babette’s Feast” can. The story of an Indian family opening a restaurant across the street from the French restaurant owned by Madame Mallory - a very, well, chauvinistic French chef stuck in her Frenchiness - tells of intertwining culture and overcoming bias. It is as familiar as it is stereotypical. A re-told story, however, rarely means a bad movie for me. A re-told story with one-note characters and boring, surface-y conflict does.

Helen Mirren and Om Puri are the veteran actors of the ensemble and also the most enjoyable thing to watch on-screen. The casting choice for Madame Mallory is interesting, of course, in that Mirren is not actually French. The weight of Mallory’s domineering character, however, would not have been the same were a lesser-known French actress cast in her stead. Mirren established herself as a regal presence worthy of respect in her Oscar-winning portrayal of Queen Elizabeth in “The Queen.” In “The Hundred-Foot Journey” Papa Kadam even addresses her at one point by saying, “You sit up there like a queen” to point out her self-satisfied, controlling, and entitled demeanor. To help establish Madame Mallory’s character as the standoffish and insensitive neighbor to the Kadam family, the choice to cast Helen Mirren – a well-established, automatic attention-grabbing actress, as well as offering a stark contrast to Puri – was only appropriate.

Likewise, the choice to cast Om Puri was well suited (though perhaps more obvious due to being an Indian actor). He has a great ability to play off the characters around him – particularly Madame Mallory. In one scene, when Madame Mallory grows upset at the loud Indian music, Puri nonchalantly tosses the tablecloth and calmly thanks her for barging into their home. In response to her condescending behavior, he promptly turns the music back up and starts dancing joyfully. This shows pride in his culture and feisty defiance to mistreatment. Their early scenes show the cultural difference with amusing conflict, but unfortunately these scenes are few.

These two performances are great and show an interesting side to the convergence and celebration of culture in the way I wish the food or the story had been able to. I'm sure this theme could have been better illustrated were these two talented actors given more time to interact and carry the story instead of allowing the younger actors and struggling plot filled with clichés to dominate. Manish Dayal plays Papa Kadam's son - the cooking prodigy who goes on to advance his career in other fancy Frenchy restaurants - and Charlotte le Bon plays the sous-chef of Madame Mallory's restaurant. The attempts at a romantic side-story seem half-hearted and unbelievable and both characters seem devoid of passion. It seems the son, Hassan, is the protagonist, but his character is underdeveloped and without much dramatic arc. I was left unsatisfied.
It's a tale as old as time where you know the end as soon as the beginning ensues. But "The Hundred-Foot Journey" brings nothing new to an old story. Any element with potential to enthrall is thrown in with laziness: the humor is brief and mediocre; the story takes no risks. Each actor's talent seems wasted and each potential conflict comes without tension. Of course, mediocre feel-good movies have their place. Nothing particular, though, stands out enough to make me remember it or desire to watch it again.

Ultimately, everything about the movie felt hollow. With Lasse Hallström as director, I expected "Chocolat" 2.0 and with Oprah as an executive producer, I expected something sentimental with a high probability of soap and cheese. I will admit, the time spent watching wasn't unpleasant. I just hoped that a movie with any kind of food subtext would leave me craving and hungry rather than checking my watch. 4/10

The Spectacular Now (2013)

High school comedies filled with irony and overstated humor are enjoyable. It is much more rare, however, to have an American teen movie grounded in reality. "The Spectacular Now" offers an unadulterated window into the fear and vulnerability behind adolescents.

Sutter Keely (Miles Teller) is a suave, self-assured, John Cusack-esque high school senior. He's one of those guys that's charming and popular: quick with the quip, and smooth with the ladies. But he's nice enough to be friendly to those outside his circle. His budding alcoholism and devil-may-care attitude towards his future causes his girlfriend Cassidy (Brie Larson) to break up with him. There isn't any melodrama to accompany the breakup - Cassidy merely honestly understands that she wants a future and Sutter can't even imagine one; he's too busy hiding behind his flask and living in the "now."

Sutter wakes up one morning on a stranger's lawn hung over and meets Aimee (Shailene Woodley). Aimee is a shy, bookish girl who - she claims - Sutter wouldn't notice normally. She isn't socially awkward; she is an intelligent, ambitious girl who stays out of the spotlight. Unless you actually were dictionary-definiton popular in high school (you know who you are) this was probably you. Sutter helps her with her paper route and she helps him with geometry. An invitation to a party, an invitation to prom, and the two become friends. Their relationship may be mismatched and the two of them may have different expectations, but it's still a beautiful shot for them to learn from each other. Sutter doesn't prey on Aimee, though we still wonder if she hasn't gotten mixed up in something complicated and inevitably unhealthy. Sutter's fleeting intentions aren't enough to warrant dislike from the audience, however; we just see him in all of his imperfections. It's like watching a dear friend go through a rough patch. Teller is gifted at bringing this kind of depth to a character.

Daddy-issues play no small role in Sutter's inner complexity. It's apparent that there is no dad in the picture, but Sutter seeks to find him at a kind of climax. The scene is less culminating than it is revealing. So much can be understood behind Sutter's alcoholism and outlook on life by this short scene with his father (sensitively played by Kyle Chandler - a much different father figure than Coach Taylor in "Friday Night Lights"). In one poignant moment, Aimee and Sutter fumble for change to pay for their drinks that the father neglects to have enough for.

Woodley, too, is a thoughtful actress. She was impressive in "The Descendants" and she doesn't disappoint in this more sensitive role. She's driven and dreamy, but still naïve. You can't blame her for being infatuated with Sutter and her flippant use of "I love you." Who hasn't been swept off their feet in a romance not meant to last? Her guileless performance, though, doesn't succumb to pity-prompting. It may seem she gives more weight to the relationship than he does, but she is still strong and capable.
It's deeply affecting. James Ponsoldt terrifically directs without settling for stereotypes. The script is much more concerned for how teens really think and feel rather than outlandish, raunchy outside behavior. Sutter and Aimee's intimate scene is emotional and unpatronizing; Ponsoldt handles the scene with sensitivity and care. Teller and Woodley have believable, understated chemistry and it feels true to life: real and vulnerable.

The film is left somewhat open-ended, and I wouldn't have wanted it any other way. Life is open-ended. You know that Sutter has been given ample opportunity now to grow and change, but whether or not he actually will is up to him. "The real hardship is me. It's always been me." Living in the moment isn't all that it's cracked up to be sometimes and perhaps it's not worth it to stay in that moment, no matter how spectacular it may be. To live in the now is less important than to see a future.

These coming of age stories can sometimes feel old, but this soulful and sincere portrait of youth takes the genre on a new, more realistic turn. And it's spectacular. 9/10

Playtime (1967)

Art film is sometimes hard to understand or to relate with. “Playtime” is an excellent example of a film that lacks a conventional storyline but instead the production design, including the use of color, the frequent use of framing, and the enormous set communicates subtle messages of industrial technologies ultimately obstructing normal human interaction.

The large, ambitious set for “Playtime” was created especially for the film. Each towering building and major skyscraper was designed to create this mood of modernity through the sharp lines, the unusual shapes, and the bleak but bright colors. This simultaneously makes the audience feel both that this is something artificial and out of the ordinary, but also makes them feel like they are there experiencing it. There aren’t camera tricks to make things seem enlarged, it is actually designed that big so it has a much more overwhelming effect. The largeness of the effect almost seems to communicate that the presence of the artificial (including these buildings) is more important than the presence of the people themselves. The people are so small and insignificant in comparison.

The film frequently incorporates framing techniques that are unique to “Playtime” and Tati’s style. This is most noticeable in two scenes. In the office scene, every desk is surrounded by a box, or cubicles, as we now know them. This represents the closed off nature of the society and once again the dominance of the architecture over the people. Later, when Monsieur Hulot goes to an apartment, the entirety of the scene is filmed from the exterior. It looks like TV sets piled on top of one another with glimpses into private life, but with the lack of dialogue, nothing is learned beyond the surface action. This was a fascinating technique that really helped employ this theme of the decline of human interaction. There are some amusing physical gags particularly with our protagonist, but nevertheless you can’t help but feel that you are watching a TV show and all you will ever get is that one frame of reference – nothing deeper.

Lastly, the color scheme largely influences the mood. It is filmed in color, but still gives off the impression that it is black and white with its use of grey, blue, black, and white. Most of the buildings are white, while sharp contrasts are provided with black lines and black furniture. However, in most scenes there is some other color present. In the office, there is a man with a bright blue clipboard. Your eyes can’t help but follow him as the color stands out amongst the bleak. This, again, reinforces that technology and design dominate over the people, even though our eyes follow what little life we can find. The color also changes from beginning to end and other colors are much more apparent by the end than by the beginning symbolizing society’s triumph over the impending technology.

Though the plot (or lack thereof) is difficult to follow, this is a story that can be understood by paying close attention to these subtle cues created and manipulated by the set itself. In “Playtime,” the set is just as much a character as the actors are.

All the analysis aside (did you guys really make it through all that?) This movie is pretty boring and has little to no redeeming entertainment value. I wouldn't recommend it to anyone unless you're looking for a little artistic reflection. 3/10

The DUFF (2015)

As a huge fan of "Easy A" and "Mean Girls," I was anxious to check out Ari Sandel's "The DUFF." This might be because I didn't really go to high school so I like to live vicariously through these entertaining, stereotype-filled movies. Though really, they make high school seem miserable (and the one year I did attend was difficult enough) so maybe it just makes me feel better about missing out on the drama but still getting to understand it through comedy. Anyway, I doubt I'm alone in thinking that there is something incredibly enjoyable about these teen-comedies when they're well-written. Though the other two films are still funnier and have better jokes, "The DUFF" holds its own with a great heroine and a romance that is actually worth rooting for.

Mae Whitman stars as the vampire-movie-loving, overalls-wearing, boy-fearing Bianca Piper. She hangs out with Jess (Skyler Samuels) and Casey (Bianca Santos) - the textbook hot girls - who steal the affections and admiration of most of the school. At a party, Bianca's neighbor and QB hunk Wes Rush (Robbie Amell) brings it to her attention that she is the DUFF - the designated ugly fat friend - to her hotter counterparts. She is the gatekeeper; she is the approachable one whom men can exploit and find out the dirty deets on her less accessible, intimidating, dateable best friends.

This fuels a devastating and overwhelming identity crisis for Bianca. But when she realizes that Wes is right and that people only talk to her as a way to get to Jess and Casey, she determines to rid herself of "duff-ness" in order to get with her crush Toby (Nick Eversman). In exchange for helping Wes with science, he agrees to help and advise her in her predicament. So, yes, this entire premise is filled with stereotypes and clichés. There's the high school paper/assignment that culminates the entire point of the movie, the Eliza Doolitle trying on clothes scene, the quirky teacher and the neglecting parent (Ken Jeong and Allison Janney in two thankless roles, although Janney does get a great lawnmower intro), the homecoming dance, the catty girls, the gossip.

However, though it's entirely flooded with things we've already seen, these characters are surprisingly not wooden. This is most evident in the unexpectedly layered Wesley Rush. Neither of the love interests in "Easy A" or "Mean Girls" are terribly fleshed out nor are they characters anyone really remembers or cares about. Amell is a talented actor and he brings wit, charm, and sweetness to an archetype typically left to surface exploration only. Consequently, "The DUFF" is more than just a teenage farce and actually a sweet rom-com. Bianca and Wes share some very human moments together and their friendship is credible. It's a relationship that goes beyond the initial spark of a kiss.
Even Bianca's friendship with Jess and Casey is filled with more positive vibes than animosity. However, it's a shame there isn't more substance to that relationship. It almost works against the movie's ultimately positive message about friendship overcoming labels and support for self-confidence and discovery. It's still refreshing to see a friendship that, even when on a break, doesn't turn to cruel backstabbing and catty name-calling or treachery. In the end, the only character that feels wooden is queen-bee, mean girl, "pre-famous" Madison (Bella Thorne). This stereotype works to fuel the conflicts of embarrassing viral videos and Wes's on-again/off-again girlfriend.

Another thing that makes "The DUFF" stick out next to these other (and mostly better) teen-movies is its timely capture of technology's dissonant effect on 21st century high-schoolers. Though people in 2015 may not necessarily end a friendship by making a scene of unfriending them on Facebook, this still provides for commentary on the social-media infused existence we all live in. The wide shots of the entire school staring down at their phones, for example, are telling of these imminent issues. In addition, Snapchat, Pinterest, and Instagram references alongside onscreen hashtags and animations contribute to the overall idea that these viral videos and networks hover over constantly. This is simultaneously the most enjoyable feature and the biggest drawback. Inevitably this will date the movie and prevent future generations from understanding all of the jokes.

(On a side note, I'm pretty sure that kids these days don't say "Viral? Viral" to get things to circulate. Idk, but I'm pretty sure that's not how the viral thing works).

But despite some jokes that fall flat, and some clichés that go too far to "inspire", there is something that any insecure girl (including myself) can connect with. Obviously Bianca - who's as real as they come, bedazzled with piercings, and beautiful if not typeface hot - is not ugly, nor fat. But as Wes clarifies at the beginning - a DUFF doesn't have to be those things. It's the idea. Anyone with insecurities is a DUFF. I'm a DUFF. You've probably been a DUFF. We all feel inadequate in some way and struggle to overcome labels. Sometimes those cheesy messages about being yourself are worth repeating, I guess.
If nothing else, it's hard to dismiss a film that gives Mae Whitman her long overdue spotlight. Up until now, she has been a stalwart supporting role in things like "Arrested Development," "Parenthood," and more recently "Perks of Being a Wallflower." It's time for her talent to be displayed at the forefront. Her comedic timing is impeccable and it's fun to see her shine. This honest, adorable and relatable actress deserves this springboard for more complex roles.

So, no. I don't think "The DUFF" will pass the test of time like others of its genre have been able to. But it's still a snappy comedy full of charm and worth a watch. 7/10

The Theory of Everything (2014)

So how well do two biopics about famous British intellects hold well in the same season? Well, as the Oscars have come and gone it seems Eddie Redmayne bested Benedict Cumberbatch for the best actor race, though the "The Imitation Game" was a more satisfying movie. "The Theory of Everything," nevertheless, tells a compelling story of man versus disease and the brilliant performance of Redmayne makes it worth every penny (even if the movie fails to live up to its own title and explore deep into theories on the universe or to portray a satisfying romance).

I wouldn't go so far as to say that this is a one-trick movie, but Eddie Redmayne is certainly the main reason it's worth the time. Redmayne tackles the daunting task of playing Stephen Hawking - a brilliant physicist with Lou Gehrig's disease - with care and precision. It's not easy to play a man with such a limiting physical condition and he seems to not only struggle under the physical limitations but also think and feel as though he were so limited. This is particularly manifest in his astounding and flawless depiction of the degeneration of the disease despite the film not being shot chronologically. His twinkling eyes, however, never falter to show his youthful, intelligent spirit in search of answers about the universe.

Redmayne's performance is reminiscent of Daniel Day Lewis in his famed portrayal of a man with cerebral palsy in "My Left Foot" (1989). This performance, which won Lewis his first Oscar, was only the beginning of an impressive career and there is no doubt that Redmayne's resumé will soon include other noteworthy performances. I am not venturing to say that Redmayne is the next Daniel Day Lewis, but I am anxious to see what comes next in his career.

"The Theory of Everything" shines because of his performance, but there is something dissatisfying about the film primarily focusing on the romance between Hawking and Jane Wilde (gracefully, quietly played by Felicity Jones). It should be noted that the screenplay is based off Wilde's memoirs "Traveling to Infinity: My Life with Stephen" and not Hawking's own book "A Brief History of Time." That makes this a historical romance rather than a philosophical exploration of cosmology. This isn't a bait and switch situation, the trailers clearly marketed it to be such a film. Though his scientific work is much more inspiring than their disheartening romance, the film takes us through their relationship - spanning from their college years, to their marriage, to the birth of their three children, and to their eventual separation. It certainly wasn't a love story to sweep you off your feet or make you feel confident in romance. None of this is inherently bad - the film's honest and poignant take on Jane and Stephen's struggling marriage is as refreshing as it is exhausting. But perhaps I was hoping for a different film.

Hawking's scientific theories are groundbreaking and revolutionary. Though director James Marsh addresses the ideas of black holes, science vs. religion, and quantum mechanics, these themes are only touched upon at surface level. Limited to the romance formula that it subscribes to, it dares not explore beyond the top layer or tap into these theories that significantly impact the human existence. With spiraling camerawork up staircases or following the milk swirl in the coffee, the film teases at dappling into deeper questioning of infinity and space. Though it is possible to convey science for the layman, the film fails to reach its full potential to edify, inspire or provoke critical thinking by sticking to a more conventional story. We catch a glimpse of who Stephen Hawking was, but don't get the full story behind his fame.
"The Theory of Everything" is still an emotional, sophisticated, well-balanced film. The supporting cast was well-chosen, including David Thewlis, Charlie Cox, and Maxine Peake. The lovely Felicity Jones especially stands out with her graceful, yet intense portrayal of a conflicted wife. The cinematography and music also brilliantly come together to cultivate Hawking's quest for a  “simple unifying equation that explains everything in the universe.” So while the movie may not have moved me as a whole, there are elements that did, especially Redmayne. It's a performance piece that, by winning its acting awards, accomplished what it set out to do. However, it is far more preoccupied with its performances than it is with telling a compelling story. 6/10

Floating Weeds (1959)

“Floating Weeds” is a simple film with a simple story. It is heavily weighted with Japanese tradition and culture, but there are still universal principles in the underlying message. Director Yasujiro Ozu communicates through his unique camerawork, his depiction of Japanese culture and familial relations, and through simple depictions of conversation the universal ideal of finding beauty in the every day.

Ozu is revered for his filming style. He uses an unmoving camera technique to create the feeling that the voyeur is paying such close attention to the characters he wouldn’t want to miss anything by moving. Each low-angle shot feels like a still and the lack of zoom, tracking cam, and fade-outs make it seem like the audience is catching a precious, intimate glimpse into real life. It’s as if Ozu doesn’t wish to jazz up the every day just to entertain, we should just appreciate the privileges of daily living as they come.

Family relationships play an important role in this. In most cultures, families are valued; it is no different with Japanese culture. Having spent time in Japan myself, I've learned that the ways we express our love and appreciation for our family and loved ones differ from America to Japan. Komajuro, the main character, certainly exhibits a certain compulsion to be in control of his mistresses and son. The idea of a patriarchal society is very important to the Japanese people. This acceptance of male dominance can be disconcerting for the foreign viewer, but this was not looked down upon in 1950’s Japan. Komajuro cared for his son, Kiyoshi, and wished to protect him. There are a few instances of physical abuse from Komajuro to his mistress, Kiyoshi, and Kiyoshi’s lover. Though this left me with a bad taste about Komajuro, it was still just a manifestation of him caring after those he was close to in the way he knew how. His devotion to his family, though his methods are different from our own culture, still help us see the importance of caring for our own family and appreciating our lives with them.

Ozu manages to capture these glimpses into the family life through simple conversations. Besides the overarching conflict of Kiyoshi not knowing his true parentage, there are very few major conflicts. These family relationships are just a part of life. As we learn from these families, it helps us appreciate those small, meaningless conversations with our own families. Many times, we talk about nothing. But those are still formative in our relationship building and bonding. These times are to be appreciated.

“Floating Weeds” is sometimes slow and much different from other American films. But given the time, it is rewarding to relate to another culture and see the ways they appreciate their lives to help us appreciate our own. 5/10





The Imitation Game (2014)

Morten Tyldum's "The Imitation Game" is based on the biography "Alan Turing: The Enigma" by Andrew Hodges. The movie title, of course, refers to Alan Turing's occupation during World War II working undercover "to break an unbreakable Nazi code and win the war." This British pioneering computer scientist must hide his incredible contribution to the war to protect the integrity of the project. Now we know their efforts to break the Enigma code were successful and we know who was responsible. But as this well-kept British secret remained classified for many years, it's taken some time for people to appreciate the extent of Turing's hand in significantly shortening the war. This is made even more significant when we think of Turing playing not one, but two imitation games. Not only does Turing pretend to have a different job than he does, but Turing pretends he is not a homosexual.

The irony behind this idea of imitation is that Turing's personality is completely unapologetic. With these two large secrets he must hide beneath, he refuses to let any other facade control him. His genius drives his creation of this code-breaking machine he fondly names after his childhood love, Christopher. Though he works with a team of other brilliant minds he compulsively does things his own way and doesn't do anything to suppress his abrasive personality. His coworkers struggle to decipher Turing just as much as they struggle deciphering the Enigma. Turing's sexual orientation, of course, plays a role in his socially awkward behavior, though I don't mean this in a derogatory way. Homosexuality was outlawed in Britain at that time, for Turing to acknowledge who he was would be illegal. Turing plays the game, but not without a breaking point.

Benedict Cumberbatch smartly and complexly plays the role of Alan Turing. Though I have been reluctant to join the Cumberbatch fan-girl bandwagon (which, to be frank, I still don't totally understand), I was impressed by his impeccable portrayal of the troubled mathematician. Turing's odd and disagreeable behavior could easily be dismissed as a dislikable character, but Cumberbatch brings out the endearing side. He allows us to see beyond the surface to triumph with his successes and feel sorrow over his pain.

Cumberbatch is perfectly balanced by Keira Knightley's supporting performance. She plays Joan Clarke, the bright female team member and Turing's close friend. She represents a much needed soft, lighthearted, joyful side to Turing's hard-nosed, serious presence. Knightley manages to capture Joan's struggle between her unfaltering loyalty to Alan with the subtle under-the-surface heartbreak of a love that could never be fully reciprocated. Other supporting performances are notable including Matthew Goode, Mark Strong, and Allen Leech.
The story itself develops like a suspenseful drama with pieces of a puzzle coming together in the manner of slow computers. The tone and pace are brilliantly fitting for a movie set in 1939 at the dawn of computer engineering. Of course the computing process is painstaking and Turing's discoveries take a while to make any real change because what we are witnessing is invention at its purest. Turing's story of technological breakthrough is told in classic flashback fashion, but it doesn't feel overwrought. Starting in 1951 with the intrigue of a police investigation and a defeated Turing suffering prosecution for indecency, to flashbacks of 1939 Bletchley Park (where the bulk of the narrative is focused), and integrating further flashbacks to young, bullied Turing in 1927. The jumbled patchwork of scenes slowly reveal different facets of our main character's life and being to help create this puzzle effect.

Though Turing's homosexuality was important to note in the plot, I was disappointed that the ending changed its focus so much to LGBT rights. Don't get me wrong, I support gay rights. I just thought the idea of homosexuals being subjected to such horrible treatment is, of course, cruel but was already represented implicitly. The explicit closing credits changed what the film was about. It's not a political movement. This is a film to celebrate intelligence.

In fact, this is where "The Imitation Game" succeeds best: in its inspiring depiction of brilliance. Though Alan Turing was a rather socially awkward specimen, he exhibited brilliance in more than just mathematics. Right after he and his team break the Enigma Code, his quick thinking to the responsibility they now held in the war is, in my mind, the time where he proves himself most as a genius worthy of respect. This is one of those movies where you walk away having learned more about a story worth hearing. 8/10

Comparing The Graduate with The Great Divorce


Change and growth are fundamental to the human existence. C.S. Lewis addresses this basic need for change and progression in his short novel, "The Great Divorce." Of course, the premise is based in Christianity as he illustrates his points through a metaphorical tour of hell and heaven. For the religious reader, the novel can provide many spiritual insights into repentance and help further their desire to devote themselves to God. However, when I read this book I didn’t think first of religion. I thought of the main protagonist in the 1967 film "The Graduate." One may wonder, why Benjamin Braddock? He isn’t religious; he has no desire to devote himself to God. However, Benjamin Braddock represents each of us on our own different but equally difficult journeys to change. His scandalous affair with Mrs. Robinson is the basis for his life of stagnancy and difficulty to move forward. "The Great Divorce" provides a framework for both Benjamin and the reader to overcome complacency and progress to something better.

Change is a process and both texts tell of characters on journeys. In "The Graduate", Benjamin is returning home to California after graduating from college. The opening scenes show Benjamin in the airport standing on a moving walkway. He stands and he moves, but he himself is not moving – illustrating this theme of complacency early on. People pass him, seemingly busy and occupied. But they are not real to him nor do they matter. Much like the translucent ghosts in "The Great Divorce," Benjamin looks right through them. His clear feelings of isolation could be perfectly described by Lewis, “In spite of . . . a ‘crowd’, the solitude was so vast that . . . [he] could hardly notice the knot of phantoms in the foreground.”

The narrator in "The Great Divorce" is similarly on a journey. At the beginning of this journey, he is found in a grim city he refers to as the “Grey Town” and he further describes it as a place where the people seem devoid of joy. We later learn that the Grey Town represents hell and few of its inhabitants choose to progress to heaven, remaining stagnant. The narrator wonders, “Do they like this place?” and a fellow passenger responds, “As much as they’d like anything. They’ve got cinemas and fish and chip shops and advertisements and all the sorts of things they want. The appalling lack of any intellectual life doesn’t worry them.” Benjamin Braddock, too, finds himself in his own Grey Town. Upon his return home, and after becoming involved in his affair with Mrs. Robinson, he quickly plateaus to a state of complacency. He becomes satisfied tanning in his swimming pool under the California sun with plenty of margaritas and sex for his pleasure. He likes it as much as he’d like anything.

At this swimming pool, Benjamin and his father have a conversation that is very telling of the situation. His father asks, “Ben, what are you doing?” to which Ben responds, “Well, I would say that I’m just drifting. Here in the pool.” “Why?” “Well, it’s very comfortable just to drift here.” It’s easy to see why a life of complacency is temporarily appealing. Even though going to work or studying will ultimately help people to progress more than watching TV would, the latter is still a more appealing choice. “There is always something they prefer to joy - that is, to reality.” However, it may be easy to be content with complacency and meaningless material possessions, but that further entails ignorance to the happiness awaiting those who choose to progress forward. Benjamin is disillusioned by his affair and doesn’t see how his stagnancy is damaging. To the Apostate in "The Great Divorce" who will not change, Lewis adds, “What is more soul-destroying than stagnation?” A life without change and without progress cannot bring true happiness.

There is always, however, something or someone to hold us back from making changes. In "The Graduate," this is Mrs. Robinson. She has a hold on Benjamin that prevents him from progressing. When he starts to fall for her daughter, Elaine, he finally realizes that he must make a change. Mrs. Robinson, however, attempts to prevent this relationship and threatens “to make his life quite unpleasant.” We all have vices and weaknesses that prevent us from achieving our potential, and could be manifested by anything from ex lovers to alcoholism. In "The Great Divorce," the Ghost with a lizard on his shoulder represents this type of vice. The lizard’s incessant whisperings are seemingly discouraging the Ghost from continuing his journey. Just as Benjamin was disillusioned by his affair and couldn’t see how he could get out, the Ghost couldn’t see beyond the lizard. He quickly succumbs to the temptations and starts to turn around until he is stopped by one of the Spirits. The Spirit politely asks, “May I kill it? I cannot kill it against your will.” The Ghost couldn’t do it alone. Lewis teaches us through this Spirit that we sometimes need a helping hand to get out of these inhibiting situations. It’s hard for the one suffering to see clearly and the task to overcome these vices is daunting. However, another person can see beyond our own capacity and understand our vices for what they truly are.

The ghost becomes a new man. The lizard’s transformation to a stallion represents his weakness becoming his strength. The Spirit teaches the Ghost, “Nothing, not even the best and noblest, can go on as it now is . . . It is sown a natural body, it is raised a spiritual body. Flesh and blood cannot come to the Mountains. Not because they are too rank, but because they are too weak. What is a lizard compared with a stallion? Lust is a poor, weak, whimpering, whispering thing compared with that richness and energy of desire which will arise when lust has been killed.” Though the Spirit is talking about spiritual rebirth, the universal principle we can learn is that true change must precede progression. Benjamin could have used this perspective. Though it is unclear how long this Ghost had the lizard with him, I can only guess that his journey to overcome the temptation was quickened by the aid of the Spirit. Benjamin was so caught up in his affair that he never sought other’s aid nor allowed people concerned about him to help. An outsider could have helped provide him with more perspective on his need to be reborn.

This process to become new and to change, however, is difficult. There are characters, like the Ghost with the lizard, in "The Great Divorce" that would wish to leave the Grey Town and continue their journey to heaven. In fact, some characters do leave and enter into another realm. They do not, however, anticipate the conditions of the next stage. In their ghost-like state, heaven is much too solid for them. The sharpness of the grass, the difficulty to navigate through the terrain represents the difficulty that comes with change and repentance. At first, it hurts. Who would want to remain in a place so painful to inhabit? The narrator soon sees that “if one stays . . . [there] one would get – well, solider – grow acclimatized.” So these characters must make a choice to either turn back and return to the comfort of complacency or to take the pain and grow.

Benjamin Braddock must also make a difficult decision. He has grown comfortable in his affair with Mrs. Robinson. He knows, however, that he will need to end the affair if he wishes to be with Elaine and soon sees that it could be painful. The choice to end it did indeed come with consequences and Elaine wished to never see Benjamin again. It would have been easy for him to step back from the pain and return to his state of complacency. But his choice to remain there – in the prickly, sticky situation – allowed him to acclimate. He knew he had found something better and was willing to work for it.

“You have seen Hell: you are in sight of Heaven. Will you, even now, repent and believe?” There must be a sacrifice in order to find heaven. It is not easy for Benjamin to finally get himself out of his rut, but when he sees the potential for his life ahead, he is able to repent. In the end he can leave his mistakes behind in Pasadena while he and Elaine move forward on a bus to an unknown future. Benjamin is able to change.

In the conclusion of "The Great Divorce," Lewis teaches that repentance is possible for all who wish to find it. The principle of repentance is much more than abandoning sin and searching for God. This need to overcome complacency and move forward with life is a necessity of humans regardless of their religion. As we reflect on our own lives in comparison to Benjamin and through the framework that "The Great Divorce" illustrates to help us progress, we can see that repentance and progression are universal. Though the future may be uncertain, there is more hope in choosing to progress than there is discouragement. And “if they leave that grey town behind it will not have been Hell”

87th Oscar Predictions and Picks

PICTURE: Boyhood
Birdman, maybe? I'm gonna swing for Boyhood on this one. But I have to say that Grand Budapest Hotel was my favorite from this year.

DIRECTOR: Richard Linklater - Boyhood
I love Inarritu, but just based on the 12-year thing ALONE, I think this should go to Linklater.

ACTOR: Michael Keaton - Birdman
This is a tough one (isn't actor always pretty tough?) it might swing to Redmayne, but Keaton was my favorite part of Birdman and should be acknowledged!

ACTRESS: Julianne Moore - Still Alice
Have you SEEN this movie??

SUPPORTING ACTOR: JK Simmons - Whiplash
There is literally no competition. Though I hope Mark Ruffalo gets his someday.

SUPPORTING ACTRESS: Patricia Arquette - Boyhood
I feel very solid in this pick. I never used to like Arquette, but she is great in this.

CINEMATOGRAPHY: Birdman
COSTUME DESIGN: Grand Budapest Hotel
ANIMATED: Big Hero 6
DOCUMENTARY: Citizen Four
I know nothing about documentaries, I never do, so it's always a random pick in this category.
DOCUMENTARY SHORT: Crisis Hotline
Same
FILM EDITING: American Sniper
FOREIGN LANGUAGE: Ida
MAKEUP: Grand Budapest Hotel
MUSIC: Grand Budapest Hotel
SONG: "Glory" from Selma
PRODUCTION DESIGN: Grand Budapest Hotel
SHORT FILM (ANIMATED): Feast
SHORT FILM (LIVE): Boogaloo and Graham
Wtf is this anyway
SOUND EDITING: Birdman
SOUND MIXING: Birdman
VISUAL EFFECTS: Interstellar
ADAPTED SCREENPLAY: American Sniper
ORIGINAL SCREENPLAY: Boyhood