[Published February 2nd, 2020, The Completist and Letterboxd]
The Oscars are a good excuse to throw a party. (If you come by, I plan on cooking a ham.) That's about the extent of my regard for this annual orgy of self-congratulation — though I'd love it if Banderas won and Zell de Jour didn't. To that end, pain will surely outweigh glory.
A good time, still, to play catch-up with several of the nominees (or not, in one case) that I have some first-time or additional thoughts about.
I'm already on the negative review record with the three Js: Joker, Judy (aka Scary Stories to Zell in the Dark) and Jojo Rabbit. The latter, one of the worst movies ever made, is well on its way to a Grolsch People's Choice-portended upset, and I'm sure it will take gold just to spite me. Rest assured that my two (!) FYC screeners will be getting gleeful, Silence-like foot stompings throughout the ceremony.
I also previously published a very positive take on The Irishman, a movie that only grows in my estimation. There's an essay to be written on the F/X work alone and how the unconvincing nature of some of it (and not just the digital shellac; see the Dick Tracy-esque prosthetics on Dominick Lombardozzi as "Fat Tony" Salerno) illuminates the themes of regret and loss. Of realizing, even if only subconsciously, that you've lived your life in exactly the wrong way. Photorealism is the party line when it comes to special effects. I much prefer it when discernible seams are a large part of the intent.
Continue reading "For Whom the Zell Tolls or: I Ren/I Ren So Far A-Née" »
