Okay, so last week in this segment, I talked about how the posters and trailers for Logan were some of my favorite marketing I’ve seen in 2017. At the end of the year, they will be heavy contenders for me at our next InSession Film Awards. Kong: Skull Island‘s marketing may not be mentioned during our awards show next year, but the trailers and posters for Kong have been interesting to say the least. At this point, the film doesn’t even care that it’s imitating Apocalypse Now. Forget paying homage, every trailer and poster (the posters especially) is blatantly ripping off Apocalypse Now. I mean, just look at these:

Yep, that has Apocalypse Now written all over it. For further proof, here is the poster for Francis Ford Coppola’s classic:

As you can see, if you weren’t aware already, the posters for Kong: Skull Island don’t even care how on the nose they are in paying their respects. Now, I’m not saying this is a bad thing. I’m merely pointing out that the film, and its marketing team, is not afraid to show where it’s going tonally and aesthetically in terms of its influences. Will that work for the film? That’s a whole other question.

This could go one of two ways. Kong‘s homages could be so distracting to the point that it completely takes you out of the film. However, given how brazen the film seems to be pointing back to Apocalypse Now, that could mean that director Jordan Vogt-Roberts knows exactly what he’s doing in commenting on how war leads to lunacy. In a lot of ways, that’s what Apocalypse Now was tackling, and it makes sense to reiterate that same notion when nuclear “tests” lead to the creation of a giant ape. On paper, that’s actually a pretty smart tactic that could pay off here.

On the other hand, it could also be a (ahem) giant disaster. Vogt-Roberts will need a sharp focus to create the right balance of homage while thrusting forward the story of Kong: Skull Island and developing its characters. I can’t imagine that’s an easy task, but I’m excited to see where it goes. Personally, I think the film looks like a lot of fun. I’m not sold on the quality of the film, I’m dubious about Vogt-Roberts ability to nail the aforementioned balance, but that doesn’t hinder how much fun this film could be. Samuel L. Jackson and John C. Reilly look like they know what kind of movie they are in, and go all out in depicting that lunacy. It’s so weird and hammed up, and I love it.

Overall, Kong doesn’t seem to be taking itself that seriously. Perhaps the final product will be, but when I see the goofy qualities of the trailer + the blatantly ripped off posters, I can’t help but think that Vogt-Roberts wanted to render something more focused on entertainment, rather than quality. I’m not expecting anything nuanced or complex, I simply look forward to laughing at Reilly’s crazy antics, Jackson’s cliches and Brie Larson’s beautiful smile. Oh, and Loki too, of course.

What about you? Are you excited for Kong: Skull Island?

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Here’s what else is coming to theaters this weekend:

Raw (limited)

Personal Shopper (limited)
The Sense of an Ending (limited)

To say that I’m anticipating Logan is like saying, “Ah, Moonlight is pretty decent.” Pretty decent!? Understatement of the year. That same mentality applies to how I feel about the last installment of Hugh Jackman and his Wolverine claws. It’s more than simple anticipation. I have *loved* the marketing for Logan, and as a result, the film has become one of my most anticipated of the entire year. And it’s not just the trailers (although, the one below is excellent and by far my favorite of the year so far), but it’s also the posters for the film.

This image is incredibly evocative and hints at the film’s potential pathos.

One of the biggest draws for me within the film’s marketing, is how different Logan looks and feels tonally. The gritty ambiance reminds of last year’s Hell or High Water, with a story that’s focused on a fatherly relationship to a little girl who is lost and needing guidance. They just happen to also be mutants in the X-Men Universe. If James Mangold, the director of Logan, can maintain that indie film spirit throughout, while also providing fun action in the process, this could go down as one of the year’s best films for me. Don’t get it twisted, I’m not anxious for Logan because of its genre. If Logan nails the father/daughter dynamic and keeps focused on the development of that between Logan and X-23, especially inside the gritty and dark aesthetic, this film could legitimately end up as one of my favorite films of 2017.

Last week on The Graham Norton Show, Hugh Jackman was talking about how the script for Logan moved him, and when realizing how great this movie was going to be, he knew that it was his last time playing the iconic character. Additionally, Sir Patrick Stewart mentioned that while watching Logan at the world premier with Jackman, he noticed Jackman’s emotional response to the film (and the audience), and he knew that this was his last time playing Professor X as well. It was a very affecting moment of television, emulating the brotherhood between these two actors and how genuine they were in their responses to the final product of Logan. It’s very difficult to see that and not buy into the hype.

While I don’t know anything about Dafne Keen, word on the street is that she (ahem) kills this role. I’m eager to see her play the character of X-23 and to see her chemistry with Jackman on screen. If the trailers (and posters) on any indication, there’s a good chance tears will be a floweth for me.

Speaking of, this trailer provokes a visceral response out of me.

Are you excited for Logan?

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Here’s what else you can expect to see at the box office this weekend:

The Shack

Before I Fall
The Last Word
Table 19
Moonlight (expanding wide)
Wolves (limited)
My Scientology Movie (limited)

This week on the InSession Film Podcast, we discussed our predictions for the 89th Academy Awards, which will go down as one of the most historic ceremonies of all-time. The show itself was pretty great. Jimmy Kimmel was a great host, the music was fun and it seemed to have a better consistency than most years. That is, until the announcement of Best Picture. For a variety of reasons, it was one of the worst and best Oscar moments that will be remembered forever. The mix-up was poorly handled by show producers, and if not for La La Land producer Jordan Horowitz, it would have been unbearable to witness. Thankfully, his class act and graceful humility allowed for the Moonlight crew to accept their award and give a speech of some kind. It was very exciting to see Moonlight win Best Picture, but also sad that they could not bask in their victory and give it the proper respect it deserved. Either way, in terms of victories, both Moonlight and La La Land earned exactly what they should have cementing both films in history.

Additionally, it was great to see Arrival win for Best Sound editing and Hacksaw Ridge for Sound Mixing. The acting categories played out as expected and we enjoyed seeing Justin Horowitz win for Best Score. Despite the awkward ending, the show overall was pretty great and it was fun to cap off a good year in film. We hope you enjoyed 2016 as much as we did. If you missed any of our reviews for this year’s Oscar winners, check them out below!

MOONLIGHT

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LA LA LAND

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ZOOTOPIA

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ARRIVAL

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HACKSAW RIDGE

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FENCES

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MANCHESTER BY THE SEA

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THE JUNGLE BOOK

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Well, tonight is the night! It’s the Super Bowl of the movie season. It’s Oscar night, the final celebration of 2016 and everything it had to offer in film. Some categories are a lock, while other are up in the air, so it should be interesting to see how things play out. La La Land is sure to grab a ton of awards, but will it take Best Picture? It should be fun to see. At any rate, here are our predictions for this year’s Oscars:

BEST PICTURE
Arrival

Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land
Lion
Manchester by the Sea
Moonlight

Brendan

Will Win: Yes, it comes down to La La Land and Moonlight, but I find this one surprisingly tighter than I think people are giving it credit for. On one hand, the Academy loves movies about movies and performance (look at past winners like Birdman, Argo, The Artist, and Shakespeare in Love) and it’s such a joy of a film with all the statistics and momentum on its side. With that said, given the political landscape this year, Moonlight represents a commentary and statement that Academy voters are most likely willing to make. Plus, Moonlight already has its needed Screenplay and Acting win on its side to qualify for a Best Picture win as well (we all know the Academy loves to deviate its wins). La La Land is still the clear favorite, but a hunch tells me that we will see yet another split between Best Director and Best Picture, and I think Moonlight will ultimately take it home.

Should Win: This I’ll just keep simple and say Moonlight is easily my favorite of all the nominees, and arguably the objective best. Plus, it would be a huge blow and celebration for Moonlight to win given the political landscape in the U.S. these past weeks. But La La Land is my second favorite, and it’s rare that the two “frontrunners” in this category also happen to be my two favorites of the list of nominees. This ultimately makes me happy.

JD

Will Win: This should get interesting. The numbers say that La La Land will win Best Picture this year. Most pundits seem to believe that as well. However, there is a major X-factor here. Since the voting process began, President Trump has took office, which has spurred on lots of backlash from the Hollywood community. I would not be surprised if voters (many of them actors – who are very vocal about their political beliefs) went for Moonlight, as a way of speaking out against Trump and his politics. With that in mind, I’m picking Moonlight to upset La La Land for Best Picture, as it will send a stronger statement that will be historic in years to come.

Should Win: In terms of craft on its own, I think La La Land is quintessential in emulating the magic of cinema and why we go to the movies. It’s fun, inspiring and represents everything that cinema should be in terms of craft. Moonlight, in its own right, illustrates all those traits as well. As far as *should* goes, just pick one. I’ll be happy either way, even if I slightly (and I mean ever so slightly) prefer La La Land.

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BEST ACTOR
Casey Affleck, Manchester by the Sea
Ryan Gosling, La La Land
Andrew Garfield, Hacksaw Ridge
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences

Brendan

Will Win: A few months ago I would’ve said Casey Affleck had this locked down, but now with his scandal looming a little stronger, it’s not so cut and dry. lus, with Denzel Washington having the SAG win on his side (no actor since 2003 who has won the SAG has then lost the Oscar), I ultimately feel Denzel Washington will take it home this year now.

Should Win: My feelings toward Viola Davis also tailor to Denzel Washington as well; he’s great in the film, but I can’t help but feel he’s given this performance before. Casey Affleck is on another level in Manchester by the Sea, and gives arguably my favorite performance of 2016; he’s my personal pick.

JD

Will Win: I know that Casey Affleck has been losing steam due to his scandal, and Denzel has been gaining steam, but I’m still going with Affleck here.

Should Win: As much as I love Denzel (and Viola Davis), their performances in Fences have already been recognized when they gave the exact same performances on the stage. As a result, I’m not as high on them as most people seem to be. That, and I think Affleck gave a performance of the decade so far. The subtlety and conviction of his performance was heartbreaking and true. He should win this award.

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BEST ACTRESS
Isabelle Huppert, Elle
Ruth Negga, Loving
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

Brendan

Will Win: For a while, Natalie Portman was the frontrunner for her uncanny portrayal of Jackie Kennedy, but the film itself has begun to lose a little steam unfortunately, putting her a little more behind than before. And while Isabelle Huppert may certainly win for Elle (she does have a Golden Globe win on her side), I feel Emma Stone’s performance will speak most to the Academy’s soft spot.

Should Win: I would not be opposed to Emma Stone winning for La La Land, even if I slightly prefer Natalie Portman’s performance. But on a subjectively level, Ruth Negga’s performance in Loving hit me most hard than any of the other nominees; what she was able to convey with subtle eye contact and little to no dialogue speaks so much truth that I can’t quite say about the other nominees. Also, please put Meryl Streep in the penalty box.

JD:

Will Win: Huppert does pose a threat here, but given all of La La Land‘s momentum, I think that Stone wins this one here. And if you ask me, she absolutely deserves it.

Should Win: Amy Adams *should* have won this category for Arrival. But nope, The Academy lost its goddamn mind and didn’t even nominate her for this category. The only other true contender in this category is Portman’s immaculate portrayal of Jackie Kennedy in Jackie. Objectively speaking, I’d argue she gave the best performance of a lead actress last year and probably should win this award. However, Stone is great and is also deserving. Anyone else winning and I’d consider it an undeserved victory, even though I love Huppert as an actress.

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BEST SUPPORTING ACTOR
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Lucas Hedges, Manchester by the Sea
Dev Patel, Lion
Michael Shannon, Nocturnal Animals

Brendan

Will Win: It’s not even close, Mahershala Ali has it in the bag.

Should Win: Also not even close, Mahershala Ali for his unforgettable presence in Moonlight, a presence that lingers on even after his character leaves the film.

JD

Will Win: I agree with Brendan, Ali will take this one and it’s not close.

Should Win: MICHAEL SHANNON BABY!!!!! In all seriousness, while I love these nominees, this should be Ali’s to lose.

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BEST SUPPORTING ACTRESS
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea

Brendan

Will Win: She won the Tony for Leading Actress back in 2010, and will win the Oscar for Fences; it’s Viola Davis’ to lose. She also has arguably the most screentime of all the nominees here; jeez, shouldn’t she be nominated for Best Actress in a Leading Role?

Should Win: While I can’t deny that Viola Davis is great in Fences, I also can’t help but wonder how much of this performance is a recycling of what she already did on stage back in 2010. With that said, Michelle Williams makes such a pivotal impact in roughly 15 minutes of screentime in Manchester by the Sea; if that’s not what gets you an Oscar win, I don’t know what does.

JD

Will Win: No question, it’s Viola Davis for Fences.

Should Win: Of these nominee’s, it comes down to Naomie Harris of Moonlight and Williams from Manchester by the Sea. Either one should win the award.

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BEST DIRECTOR
Denis Villeneuve, Arrival
Mel Gibson, Hacksaw Ridge
Damien Chazell, La La Land
Kenneth Lonergan, Manchester by the Sea
Barry Jenkins, Moonlight

Brendan

Will Win: The battle between La La Land and Moonlight continues. Either of these two young talented directors could very well take it home, but ultimately the technical prowess and tribute to Hollywood in La La Land’s direction will give Damien Chazelle his win in this category

Should Win: While I’m so happy to finally see Denis Villeneuve finally recognized as a Best Director nominee, Barry Jenkins’ use of seamless storytelling and cultural relatability makes this my personal pick here, easily. Although, I would not be disappointed to see Damien Chazelle inevitably win here.

JD

Will Win: Ideally, I would love to see Barry Chazelle win here for MoonLand. Since that’s probably not going to happen, Chazelle will take this one for La La Land.

Should Win: As much as I love Jenkins and Villeneuve, what Chazelle brings to La La Land in terms of old-school filmmaking and blending that with modern aesthetics, full-body choreography, great music, wonderful performances and cinematography, is breathtakingly beautiful. He deserves this award.

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BEST ORIGINAL SCREENPLAY
Hell or High Water

La La Land
The Lobster
Manchester by the Sea
20th Century Women

Brendan

Will Win: This really comes down between Damien Chazelle or Kenneth Lonergan. Chazelle’s win would continue the momentum La La Land will inevitably receive, but I do think this will be the major win for Manchester by the Sea, and think Kenneth Lonergan will take it.

Should Win: I would love to see Kenneth Lonergan take it home, but my preference of all the nominees is absolutely Yorgos Lanthimos and Efthymis Filippou for The Lobster, for their absurdity and satire on modern relationships. It won’t happen though, and the nomination itself will be their reward.

JD

Will Win: Manchester By the Sea all day baby.

Should Win: I do echo Brendan (above) that seeing The Lobster nominated here is pretty exciting. That screenplay (and film) is so weird, but immensily satisfying. That said, Lonergan’s screenplay for Manchester is beautifully nuances, too real and achingly sorrowful.

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BEST ADAPTED SCREENPLAY
Arrival

Fences
Hidden Figures
Lion
Moonlight

Brendan

Will Win: Its seamless narrative and culturally timely story will give Barry Jenkins his win for Moonlight, and rightfully deserved.

Should Win: One of the few occasions in which my predicted winner is also my personal top choice, as I truly adore Barry Jenkins’ script for Moonlight. But I do at least want to acknowledge the complications and research that went into Eric Heisserer’s script for Arrival, which would be my second choice.

JD

Will Win: I agree with Brendan here, Jenkins and Moonlight will take this one away.

Should Win: The way Moonlight gives a voice to a demographic that is mostly voiceless in film is significant and should be noted. However, on the page, it’s simplicity keeps this film at #2 for me. In terms of screenplay, it’s impressive how Heisserer took a complex narrative and made it feel attainable as a story about a mother and a daughter. In theory, it could have failed miserably, but instead the screenplay for Arrival thrived massively. For that, it should win here, but most likely it will not.

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BEST CINEMTOGRAPHY
Arrival

La La Land
Lion
Moonlight
Silence

Brendan

Will Win: La La Land will continue its momentum for Linus Sandgren’s precise use of full-bodied choreography and camera mobility, and is his to lose at this point.

Should Win: I do love what Sandgren is doing in La La Land, but James Laxton’s slow, methodical, and poetic precision is something I just can’t ignore. That, alongside its subtle use of long takes and gorgeous color, makes Moonlight my pick.

JD

Will Win: Sandgren’s visual beauty in La La Land will deservedly take home this award.

Should Win: For clarity, I will be happy to see Sandgren win this award, but subjectively, I slightly prefer to see Laxton win for Moonlight. The way he captures the soul of the characters in Moonlight by focusing on the eyes of the performances, is simply breathtaking and magical.

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BEST ANIMATED FILM
Kubo and the Two Strings

Moana
My Life as a Zucchini
The Red Turtle
Zootopia

Brendan

Will Win: For both Disney and political reasons, Zootopia is most likely going to take this home; it’s too hard to say that the Academy will overlook an animated family film with such a timely and progressive political agenda as it relates to racial stereotypes.

Should Win: While Zootopia may be the more important and timely win, Kubo and the Two Strings just spoke on another level both emotionally and visually, and is my personal pick of the nominees.

JD

Will Win: Zootopia‘s acheivement is mighty impressive. It’s an animated film for kids, and adults, that tackles ideas of racism and prejudice, and does so without overbearing the film’s main narrative. It does deserve this award in many ways.

Should Win: Despite the prowess of Zootopia, Kubo and the Two Strings was on another level technically, while also providing an important story of its own about accepting grief as being human. Additionally, it’s the only other animated film to receive an Oscar nomination for Best Visual Effects since The Nightmare Before Christmas.

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BEST ORIGINAL SCORE
Jackie

La La Land
Lion
Moonlight
Passengers

Brendan

Will Win: Justin Hurwitz better have his acceptance speech ready, it’s his to lose.

Should Win: While I love Hurwitz’s music for La La Land, what Mica Levi did in adding to Jackie’s psychological turmoil and horror makes her score the most thematically relevant to its respective film; she is my personal pick here.

JD

Will Win: Hurwitz has this in the bag, as he should.

Should Win: The score to La La Land is alluring musically, but more than that, it wonderfully amplifies the film’s notions of dreams and reaching for the stars.

Well, I’m back! I know, I know, you haven’t missed me in the slightest. That’s ok, I wouldn’t miss me either. But never-the-less, I have returned. And this time I’m doing another installment in my nostalgic film remembrances, and this one should be interesting!

I have no real link to recent or up-coming events for this one. I was simply thinking about how to ease back into writing again after a brief hiatus (look, I’ve got a almost 5-month old daughter now. I’m likely to run into writing roadblocks!) and then it hit me like a steampowered blast from the past. I’m picking a film that I REALLY enjoyed when I was younger, even though it’s stupid. And yes, I just admitted that the film itself is stupid. But if you’ll indulge me, I feel like I might be able to sway your opinion on the film a little.

First, it’s a Will Smith vehicle. Of course it’s not going to be Shawshank Redemption or Citizen Kane. The point of the film is to have Smith be the smart-arse and everyone else begrudgingly like him. And this is because, as anyone who grew up watching Fresh Prince can tell you, Will Smith is a smart-arse who’s also incredibly likeable. Seriously, watch a few Fresh Prince episodes that deal with some of the harsher realities of life and tell me you don’t side with him. I’ll wait………

Told you!

Secondly, the film was not going to have a fantastic script. It’s a late 90’s Hollywood Steampunk Western. Since the makers of Trigun weren’t called in, there’s nothing that could have saved it there.I firmly believe that most people who hated this film went in expecting Men In Black in the Wild West. Sorry boys, not gonna happen.

Thirdly, I went in with ZERO expectations. I literally picked up the VHS (yes, that’s right. Anyone reading this born after 2000, go and ask your parents why Be Kind Rewind makes them smile so much. You’ll be shocked at how annoying the pre-digital age could be!) in the store, went “Huh. This could be fun.” and came home from the field trip (long story) to watch it. I had no idea who Kevin Kline was, I’d never seen anything in the Steampunk genre before and I knew that the graphics wouldn’t be anything too special. And that saved this film for me.

Will Smith was Will Smith. He just hopped in a time machine and went back to the West. Kline is a wonderful foil to Smith, even if it’s cheesy as hell. If you were to come up with text-book odd couple, you’d basically end up with them. Salma Hayek is eye candy. Again, it’s the formula. Luckily, she’s also a good actress who probably puts in the best acting in the film. The Steampunk aesthetic is wonderful. I didn’t know what it was before I watched it, but afterwards I was well and truly a fan. The villain is straight out of 1910’s black and white silent cinema. The only thing he doesn’t do is tie someone to a train track while
stroking his moustache, though the magnetic collars are bloody close. And the spider…. is stupid. But that’s ok. And as far as stupid Macguffins go, it’s one hell of a doozy!

I know people who’ve already seen this will probably still hate it. But I hope you’ll at least see it for what it was. It never had a chance at being real cinematic gold, but it went all in anyway. And I don’t care what anyone says, that theme song was (to coin a phrase) dope.

And now we come to the rating. For those of you who haven’t read my other articles, I’m hurt and a little offended. But beside that, I’m not employing a traditional rating because it’s all about how my childhood film watching was better than yours (it’s true, don’t deny it!) and how it makes me feel. So I think that Wild Wild West can only receive a rating of…

10 year-old me playing Desperadoes.

So thank you once again for letting me carry on and wax lyrical about a film that probably doesn’t deserve it. But hey, I like it! And so, it only remains for me to say…

Wikky-Wikky-Wild-Wild West, Jim West, Desperado!!!

There is a lot of irony in this title for this week’s “Anticipating” post. Anticipating horror films is simply not my thing most of the time. However, just last year, Robert Eggers’ The Witch was not only in my Top 5 most anticipated films of the year, but the film ended up as my #6 film of 2016 overall. So, I am coming around on the genre with this new resurgence that we’ve seen with horror films over the last five years. That’s exactly why I’m genuinely excited for Get Out, coming to theaters this weekend. Simply in terms of horror, the film looks to satisfy on those levels while doing something new in the process in terms of commentary and satire.

And that brings me to my next point. The biggest reason I’m excited for Get Out is Jordan Peele. By now, I think we are all fans of Key & Peele, the show that dominated Comedy Central for years. If you watched that show, you’ll know there were some skits that fell into the “horror” aesthetic and they were hilarious every time. It doesn’t matter what topic those guys tackled, they were able to bring hefty commentary to everything they did, while also providing a robust comedic bite at the same time. There is no doubt that Peele is doing the same thing with Get Out, a horror film that will comment on race relations in our culture at the moment. The fact that his directorial debut is receiving high critical claim is no surprise.

Additionally to that, I’m curious to see more from Daniel Kaluuya, whom I’ve only seen in bit parts here and there the last few years. Based off of the trailers, his performance looks stupendous. Get Out also features Allison Williams, whose most notable work to date was her role as Peter Pan on the NBC Peter Pan Live! TV musical. Personally, I skipped out on that atrocity, but I heard she was good in the role. Either way, I’m hoping for big things from these two actors. It’s always a pleasure to see Catherine Keener and Bradley Whitford as well.

What about you? Are you excited for Get Out?

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Here’s what else is coming out in theaters this weekend:

Collide

Rock Dog
The Girl with All the Gifts (limited)
My Life AS a Zucchini (limited)
Tulip Fever (limited)