Picking Winners at the 92nd Annual Academy Awards

The 92nd Annual Academy Awards hits airwaves Sunday, February 9th, 2020 at 8:00pm on ABC. For those handicapping at home, here are the guesses of Buffalo film fanatics Christopher Schobert, William Altreuter, and myself. Jared Mobarak: Let’s face it. The Oscars have been irrelevant from a creative standpoint since … probably forever. The whole thing is a marketing ploy to boost box office numbers and give trailer makers something to put next to names of creative. That’s why theaters re-release nominees. That’s why boutique studios hold wide rollouts until foreign…

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Online Film Critics Society Ballot 2019

Below is my December 26th ballot for the 23rd annual Online Film Critics Society Awards honoring movies released domestically in the United States during the 2019 calendar year. Each category is ordered according to my preferential rankings. Group winners were announced on January 6th, 2020 and are labeled in red.

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REVIEW: Little Women [2019]

Fight to the end and be loud. Despite letting its sordid content embarrass her to the point of pretending to be a writer friend’s messenger, Jo March (Saoirse Ronan) can’t hide the excitement of earning twenty dollars her family desperately needs for a story she composed. With one sister married to a husband of modest means (Emma Watson‘s Meg), another off in Europe with a wealthy suitor yet to propose (Florence Pugh‘s Amy), and a third sick in bed with fever (Eliza Scanlen‘s Beth), her New York City efforts to…

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REVIEW: Midsommar [2019]

No higher and no hotter. It must have been one helluva break-up since no run-of-the-mill, mutual uncoupling could inspire someone to pull a complete reversal like writer/director Ari Aster did. He initially turned down an idea that some Swedish producers brought him to bring to life. He didn’t see the purpose in creating some random slasher set in their Scandinavian nation simply because they were offering the money to do so. Aster only circled back when the messiness of his relationship’s demise provided a reason to get some characters there…

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REVIEW: The Commuter [2018]

One little thing. If the timeline is to be believed, the fourth meet-up between director Jaume Collet-Serra and Liam Neeson entitled The Commuter was the result of the latter rather than the former. Byron Willinger and Philip de Blasi‘s story went through the hands of at least two other stewards as well as a rewrite by Ryan Engle before finally going in front of the cameras. So one could hypothesize Collet-Serra was brought in as someone familiar with the genre, tropes, and especially the lead actor to bring things home.…

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REVIEW: Lady Macbeth [2017]

“We did it” At the back of William Oldroyd‘s Lady Macbeth (adapted for the screen by Alice Birch from Nikolai Leskov‘s 1865 novella Lady Macbeth of Mtsensk) are the ideas of oppression, power, and the fluidity of both as the oppressed often find themselves clawing their way to a position of becoming oppressor above another more marginalized sect of society. This theme isn’t one that has been solved by any means since the time of 19th century England and its persecution of women as subservient baby-makers to be bought by…

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