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Review: Alex Garland’s ‘Civil War’ is an Exercise in Narrative Emptiness | FirstShowing.net

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Review: Alex Garland’s ‘Civil War’ is an Exercise in Narrative Emptiness

by Alex Billington
April 15, 2024

“What kind of American are you? You don’t know?” Now that it’s playing in theaters, Civil War is one of these movies where everyone must have a very strong Opinion™ about and make sure everyone else hears it. Every moviegoer just HAS to chime in and join the discussion. So here I am throwing my hat into the ring, so to say, with my own critical thoughts. Does it matter? Will anyone care? I doubt it, but of course I’ve got something to say about this movie. We all do. I’m joining the chorus in continuing to emphasize that I really believe Civil War is an empty movie and that’s not a good thing. Aside from the apolitical narrative of “we’re going to follow these supposedly objective war photographers” there’s really nothing else new or interesting or unique it’s saying about war. It is just another bland war movie, regurgitating every last war movie trope but setting in America this time. Thus the pertinent question becomes, “why?” Why set it in America? What is it saying about America’s might-really-happen next Civil War? Not much of anything at all, unfortunately.

First things first, I cannot say Civil War is a bad movie in regards to the filmmaking. Written & directed by British writer & director Alex Garland, and featuring cinematography from British DP Rob Hardy, this war movie is slick and thrilling. The pacing is riveting and unsettling – going from intense, harrowing scenes to quieter, more peaceful moments. Yet the rumbling of war and the threat of what might be waiting around the corner always looms. Just like every other war movie ever made… This time, however, it’s set in the very possible a-second-civil-war-is-now-underway America. Which is especially relevant & frighteningly realistic as a concept, so much so that I don’t think it’s proper or right to call this movie sci-fi. There is not much imaginative fiction in it beyond the idea that this civil war hasn’t actually happened yet. The performances especially from both leads Kirsten Dunst and Cailee Spaeny are strong and compelling, even if they are the cliche yin vs yang of experienced vs newcomer war photographers. Stephen McKinley Henderson as the wise and hardened Sammy, though, steals the show and is the only really great character in this movie.

This brings me to my primary frustrations with Civil War. It’s especially ironic to say I “enjoyed” the action in this because it seems the only coherent point that Alex Garland wants to make is that all this killing and all this awfulness of war is bad and we should not enjoy it (as we often do in other war movies) because once it comes to your own backyard it will make you want to puke, too. Such an original thought that, well, every other war movie has had, too. As I feared, Civil War is dangerously careless and unpleasant in its apolitical conceit. It’s so bitterly obvious Garland’s pitch was: “you know all those Middle East civil war journalists-go-there movies, I want to make that but set it in America” though it has nothing more to say anyway. War is bad! Yeah, we know. Your friends will die! Yeah, we know. Journalism is important! Yeah, we know. No side wins when everyone is killing each other! Yeah, we know. Every war movie trope ever + America doesn’t make it interesting. That’s what is so annoying about it… Ignoring the crucial politics of WHY war happens (*continues to happen) and thinking if you show us, for the 1000th time in cinema, that both sides are doing bad things by killing the other side, we’ll all stop fighting and prevent more wars is not helpful nor effective.

Let me make a controversial statement – it’s exceptionally naive for anyone to think that just because there’s another movie in theaters now depicting with cinematic realism how very bad and horrible and violent war always is, we’ll all prevent the next one before it begins. Really? After 100 years of other (better) war movies why are we all still ending up in more wars? Perhaps because refusing to address that “why” more honestly (and, let’s be honest, by clearly showing that there is a good and a bad side no matter what some believe) is the reason we’re still all shooting each other in the streets… Just look around right now – the war in Ukraine, the atrocities in Gaza, shootings daily in America, etc. Did any of these war movies before stop any of this? Does showing someone a war movie not make them want to fight for something in the real world that deeply matters to them? Nope. That’s why setting this in America and making it seem more relevant to those who can only be scared because it is set in America weakens the message and the entire concept. And let’s not be so foolish as to think that the journalism they’re depicting in this movie is making a real difference either. Unfortunately that era is over. When in this movie does their journalism actually make a difference? Never.

In one interview, Garland actually said that “polarization is not a good thing” is ultimately the movie’s entire message. Once again, this isn’t anything new or surprising or revealing. Alas, he refuses to grapple with the polarization, where it comes from, how it grows, etc. He never wants to dig into this topic despite making an entire movie set around Americans fighting themselves because of polarization. Once again, what is there left to consider if it’s not enjoyable to watch this action. I find it especially strange how so many people have reacted to Civil War as if it is the most horrifying war movie they’ve ever seen, which speaks to their myopic bias towards America and refusal to consider anything beyond its borders as being as important as whatever is happening in America. I can watch Come and See or Apocalypse Now or The Battle of Algiers and feel as unsettled about war not in America. Even the last few years there have been more interesting war journalist movies – Bruno Dumont’s France or Agnieszka Holland’s Mr. Jones or Matthew Heineman’s A Private War.

There are a multitude of different interpretations and reactions to Civil War and what it means and what it’s really about. Is it actually about America or just set in America? Is it about war? Is it about journalism? Is it about trying to be neutral? No matter what any of these viewers claim, it never seems to really explain why this movie is more effective or engaging than any other war movie. Nor do these reactions justify the movie’s ultimate message that is supposed to be “both sides are bad, polarization is bad, let’s not let this happen.” Showing war photographers doing their job only reminds us that they are a necessary part of covering war, not stopping war, or preventing war, because in all these centuries of humanity having books & newspapers, we still haven’t been able to stop ending up in more wars. I wish there was something more going on in here. I wish it had something more to say about America – or war, or how to prevent it. Much like his last movie Men, it’s so empty and ultimately meaningless I don’t want to discuss it further. So many other war movies have handled this better, so many other movies about war photographers have dug into this better. After a few months we’re all going to forget this movie and go back to reading real life updates on more war anyway.

Alex’s Rating: 5 out of 10
Follow Alex on Twitter – @firstshowing / Or Letterboxd – @firstshowing

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The Top 10 Godzilla Team-Ups – Jet Jaguar, Rodan, Mothra & More | FirstShowing.net

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The Top 10 Godzilla Team-Ups – Jet Jaguar, Rodan, Mothra & More

by Aaron Neuwirth
March 28, 2024

While he is the irrefutable “King of the Monsters“, Godzilla has recently found himself in the spotlight quite a bit. Between Apple’s Monarch: Legacy of Monsters series (streaming now), the Oscar-winning hit Godzilla: Minus One, and the upcoming Godzilla x Kong: The New Empire, kaiju fans have had a lot of time to spend marveling in awe of Big G. With that in mind, this upcoming Legendary Pictures movie will presumably be featuring Godzilla partnering up with his previous rival, Kong. Sure, Godzilla has often found himself taking on other giant monsters on his own, or being a party to the destruction of major cities because he (or she) actually just wants to lay some eggs or topple towns because he’s a real mean bastard. However, when the going gets tough, Godzilla sometimes finds himself in a spot where it’s more beneficial for him to have a teammate handy to stop various three-headed dragons, giant cyborg claw beasts, robotic versions of himself, etc. Below is my list of Godzilla’s Best Team-Ups in the franchise’s 70-year history.

For more – read my rundown Stomping Through Godzilla History: Where to Begin & What to Watch.

10. Father and Son – Godzilla and Minilla

Godzilla’s children had to make this list because when it comes down to it – they step in when needed. I feel like kids don’t really need an awkward-looking little monster to bring further appeal to an increasingly kid-friendly monster series, but that’s another story. Minilla is introduced in 1967’s Son of Godzilla and later returns in Destroy All Monsters (1968), All Monsters Attack (1969), Godzilla: Final Wars (2004). Born prematurely thanks to interference from Kamacuras (giant mantises), Minilla is trained by Godzilla to protect himself from other giant bugs. With no atomic breath like his pops, Minilla blows smoke loops, which are not a ton of help. All that said, he does get in his shots during a throwdown against King Ghidorah (it’s a long story) AND helps a latchkey kid stand up to bullies (that’s an even longer story). Not everyone’s favorite, and certainly not a looker, but as a part of the lighter side of things, Minilla is a well-meaning ally.

9. Father & Son Again… – Godzilla and Godzilla Jr.

First introduced as an egg in 1993’s Godzilla vs. Mechagodzilla II, Godzilla’s other child (first known as Baby Godzilla) had quite the epic arc during the Heisei era. Having imprinted itself onto a biologist before birth, Godzilla Junior (then “Little Godzilla”) would go on to interact with the G-Force member through a psychic bond in the movie Godzilla vs. SpaceGodzilla (1994). In the final Heisei Era film, Godzilla vs. Destoroyah (1995), Junior is grown enough to be a very capable fighter against one of Godzilla’s biggest threats. However, Junior is killed at one point during the battle, only to be revived by the movie’s end as an adult taking over the family business. With more of a dinosaur-like look as it grows up, Junior felt more like the Dick Grayson / Tim Drake to Minilla’s Damian Wayne and certainly gave its all when a true villain was looking to take down the King. I don’t really know where Godzilla Junior would be now through the Heisei timeline as a full-size Godzilla replacement. Still, I’m sure it’s living up to its elder’s legacy.

8. RoboFriend – Godzilla and M.O.G.U.E.R.A.

While Moguera (aka M.O.G.U.E.R.A.) first appeared way back in 1957’s The Mysterians film (directed by Godzilla’s own Ishirō Honda), the robot kaiju (operated by multiple pilots) would ultimately enter Godzilla’s universe in Godzilla vs. SpaceGodzilla (1994), helping Big G take on the crystal-enhanced beast (see the gif above). However, even with the ability to split into two parts (Land Moguera and Star Falcon), it would eventually be defeated. Sure, this thing is fast & armed to the teeth, but weak armor is never helpful against an alien clone from outer space. Still, Moguera does end up destroying SpaceGodzilla’s main power source, allowing Godzilla to finish him off. Even with death on the line, teamwork can make the dream work.

7. Lion in the Toho – Godzilla and King Caesar

A guardian deity modeled after Japan’s stone lion statues, when you really look at it, King Caesar is pretty cool and a stand-up ally. For one, this is one of the few characters Godzilla doesn’t have any beef with from the start. True to life, this giant cat gets involved once it is woken up and deems a situation worth dealing with. In this case, we’re talking fighting Mechagodzilla in 1974’s Godzilla vs. Mechagodzilla. Granted, King Caesar is sadly not one of the stronger kaiju to team up with Godzilla, being beaten by Mechagodzilla on its own and then having Big G do most of the work while battling the alien robot together. Nonetheless, as a creature recruited to keep humans safe, the lack of drama between them goes a long way – long enough for him to let King Caesar live during its mind-controlled reappearance in 2004’s Godzilla: Final Wars.

6. The Two Kings – Godzilla and Kong

Here’s the thing with these two – they don’t see eye to eye, and they both see themselves as the best. While plenty of other adversaries are merely challengers to the throne, this IS the “King of the Monsters” vs “King Kong”. With that in mind, their time spent working together is minimal so far. While Godzilla x Kong implies the two will have to team up (no spoilers from me right now), 1962’s King Kong vs. Godzilla was all about the two fighting each other. 2021’s Godzilla vs. Kong movie spent most of the time letting the two alphas battle it out (with Godzilla ultimately winning, natch). The real enemy of the film, however, was revealed to be a secret weapon developed by the Apex company, which, as it turned out, was Mechagodzilla (telepathically controlled by Apex’s chief technology officer using a dismembered skull from Ghidorah… it’s a whole thing). When Mechagodzilla started running wild (breaking free of its controller, because of course it did), Godzilla and Kong needed to work together to stop it. As it turns out, the two champions made for a natural pair, complete with combo moves, weapon assists, and more.

5. King and Queen Combine – Godzilla and Mothra

Perhaps this is controversial, but Mothra is ultimately more of a peacekeeper than a true ally. Therefore, I see other team-ups as more worthy when considering the role the Queen of the Monsters has played in this series. Granted, it’s not for lack of appearances. Mothra has shown up a lot in Godzilla’s history (and even had her own Rebirth trilogy, along with starring in her own movie to begin with). As far as when Mothra has made her efforts to protect humanity by actually assisting Godzilla, 1964’s Ghidorah, the Three-Headed Monster found the giant butterfly actually talking Godzilla and Rodan into taking on the colossal dragon (more on that soon). In later entries, she also works with Godzilla to help him battle an upgraded Gigan and Monster X (aka Keizer Ghidorah – yup!) from Toho in Godzilla: Final Wars. In the MonsterVerse, in 2019’s Godzilla: King of the Monsters, Mothra practically seems like an old girlfriend who decides to lend a hand to Godzilla during a battle with King Ghidorah and Rodan, sacrificing herself in the process (although Mothra does have a long history of being reborn in some way, so who knows if this is permanent).

4. Best Sidekick Ever – Godzilla and Anguirus

With a similar origin to Godzilla and a more diminutive stature than most other kaiju, Anguirus is more of a sidekick than a friend, but a good one. Think of him as the Robin to Godzilla’s Batman (yes, a second Caped Crusader reference for this article, but bear with me). While the two first battled it out in 1955’s Godzilla Raids Again (Godzilla’s first rival for the series), they quickly teamed up in multiple Showa Era films, including Destroy All Monsters and Godzilla vs. Gigan (1972). The latter would make for their most impressive adventure together, as they had quite the selection of opponents to take on. After talking it out (because Godzilla and Anguirus actually talk to each other in this one) and a little reconnaissance, the two take on Gigan and King Ghidorah together in a brutal battle that leads to a lot of bloodshed (it’s a pretty gory Godzilla movie) but ultimately a victory. The film practically predates Jaws having us watch Godzilla and Anguirus swim back to Monster Island together, having triumphed over their monstrous adversaries.

3. A Friend Forged in Fire – Godzilla and Rodan

Like Mothra, Rodan also got his start in his own movie before going to the Godzilla-Verse. However, there’s a critical difference between the Queen and him that I’ve tried to make very clear over the years – Rodan is a dick. He relishes causing destruction and wears a smile while doing it. That’s never been more evident than in 2019’s Godzilla: King of the Monsters, with his finest solo showcase action scene to date. However, Rodan and Godzilla did make for good friends. Initially enemies (as usual when it comes to Godzilla’s desire for dominance), Ghidorah, the Three-Headed Monster (1964) found the two working together after some coaxing by Mothra. This carried over to 1965’s Invasion of Astro-Monster, which had them taking on King Ghidorah once again after Earth was duped into letting the Xiliens from Planet X “borrow” them to fight this battle in exchange for the cure for cancer (this ended up being an elaborate ruse). Even more notable are the events that occurred during the Heisei Era. In 1993’s Godzilla vs. Mechagodzilla II, not only did Rodan essentially take a bullet for Baby Godzilla, but while dying, he would go on to let his life force regenerate Big G to help him get supercharged to take down the Super-Mechagodzilla. What a pal.

2. Get Me Everyone! – Godzilla and All of Monster Island

Before Marvel’s The Avengers, Toho gave us Destroy All Monsters, which put together an all-star roster of kaiju battling against King Ghidorah (firmly establishing the three-headed creature as Godzilla’s primary nemesis). In this film, following a whole section of the narrative where all the monsters are being mind-controlled by the Kilaaks (this series loves its alien names), a major showdown occurs on Monsterland (the Japanese island that has been converted into a confinement area where the monsters can be contained and researched). This is where Ghidorah must go up against Godzilla, Anguirus, Rodan, and Gorosaurus, along with some support from Minilla, Kumonga, and Mothra in larval form. Baragon, Varan, and Manda are also present but aren’t really needed for this incredible kaiju brawl. Now, granted, the odds were pretty stacked against Ghidorah at this point (not that he’d care, as he’s one cocky bastard). Still, as far as team-ups go, Godzilla had plenty of reason to put in the order for team jerseys after this one.

1. Instant Besties – Godzilla and Jet Jaguar

🎵 Godzilla and Jaguar, they punch, punch, punch! They are the friends of justice! 🎵 Yes, Jet Jaguar may just be a kid-friendly creation by Toho to capitalize on the popularity of Ultraman at a rival studio, but this colorful robot is also 100% awesome. Only ever appearing in 1973’s Godzilla vs. Megalon movie, this friendly human-sized machine initially served as a companion to two scientists and a young boy, only to realize he would need help stopping a threat to Earth. With the arrival of Megalon and Gigan, Jet Jaguar gained sentience and grew to giant kaiju size so he could take on the others. And that’s not all! Jet Jaguar then decided to recruit Godzilla and form an alliance (literally shaking hands to seal the deal – see image above). Were Gigan and Megalon ready for this major bout of double trouble? No, no they weren’t. Cut to the duo stomping all over the villains, with the well-known epic finishing move of Jet Jaguar holding down Megalon while Godzilla lays out an impossible drop kick on the giant beetle. This instant friendship is a joy to see take place, and it’s a shame Jet Jaguar hasn’t returned since.

B-b-b-bonus! – Mothra, King Ghidorah & Baragon against Godzilla

One more for the road, as 2001’s Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack has a unique set of allies worth mentioning. Part of the Millennium Era, basically an extended anthology series, this film functions as a direct sequel to Godzilla (1954), making Godzilla the villain against everything and everyone. In an exciting twist, Mothra, Baragon, and King Ghidorah (I know, right?) are now Guardian Monsters who must be awakened to stop Godzilla from destroying Japan. It’s not an easy battle for these monsters, with King Ghidorah ultimately getting a lift from Mothra’s sacrifice play (her standard move) to, at the very least, damage Godzilla enough for humans to take advantage of the situation and stop the devastation. A wild approach in one of the most memorable Godzilla films from early in the 21st century.

How will things turn out in terms of team-ups in Godzilla x Kong: The New Empire? We’ll find out soon, as the film opens in theaters March 29th, 2024. Are Godzilla and Kong really going to be working together? More importantly, will this be a lasting friendship? One thing’s for sure: Godzilla may be King, but he does have a history of taking on an ally or two at a given moment. Perhaps it could lead to something more long-term. After all, who doesn’t need a hand when it’s time to, I don’t know, move a large refrigerator, or have a partner for monster pickleball? Anyway, a new Godzilla movie is opening soon. As always – let them fight.

Follow Aaron Neuwirth on Twitter + ask him anything about Godzilla movies – @AaronsPS4

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On the Philosophy of ‘Dune: Part Two’ – Power, Control, Fate & Love | FirstShowing.net

Post By Entertainment arrakis, chani, denis villeneuve, discuss, editorial, feat, frank herbert, fremen, maud'dib, paul atreides, philosophy of dune, review, sci-fi, spice

On the Philosophy of ‘Dune: Part Two’ – Power, Control, Fate & Love

by Alex Billington
March 14, 2024

“Consider what you are about to do, Paul Atreides…” Be wary of the path you are headed down, Muad’Dib… As with the two biggest movies of last year (Barbie & Oppenheimer), the biggest movie of 2024 so far is also an extremely dense, philosophically compelling, morally complex work of cinematic art. It’s exhilarating and fascinating to ponder its epic story of control over the planet Arrakis, and even more exciting realizing that audiences are eating this up. Even if the philosophical ideas may not land as deeply with each viewer, it’s proof that truly believing in moviegoers as smart people is actually the right path to take nowadays. Dune: Part Two is playing in theaters worldwide and after watching it three times at the cinema, I must dig into its philosophical side. The most obvious themes are power & control, along with fate & destiny. However, it also makes me wonder about a bigger quandary: what does it really take to overthrow an oppressor and is there actually a successful way to achieve peace & freedom for all? Or will it always lead to more oppression?

One important note before going on – I have not read Frank Herbert’s books. I am familiar with where the story goes and the general ideas within the books, however my thoughts in this article are based entirely on what we’re shown in Denis Villeneuve’s two movies. Dune: Part Two is adapted by Denis Villeneuve along with sci-fi screenwriter Jon Spaihts. I also agree with this point made in Clint Gage’s editorial on Dune: Part Two and the differences from the book published on IGN: “The bigger philosophical point about adaptations though is that they should be different… Villeneuve and Spaihts wrote the two parts of Dune with an eye on the past and future that would make the Kwisatz Haderach proud, by adapting the source material through space, time and a dose of spice.” Even if there are certain philosophical ideas brought up or explained in the books, my conversation is based purely on what Villeneuve and Spaihts have chosen to show on screen, and how Paul’s arc progresses over these two movies so far. Of course, I’m familiar with where it leads with Paul (it ain’t good) which reminds me to indicate that there will be full-on spoilers from here on out. Obviously.

Dune: Part Two continues a modern sci-fi trend where it asks a whole bunch of intriguing questions, brings up plenty of fascinating ideas and concerns for viewers to contemplate, while refusing to provide more clear or useful answers to these concerns, or an optimistic path to follow (in our real world or imaginations). It goes without saying (but I’ll say it anyway) that our planet is not in a good place right now – with wars and tumult and troubles on nearly every last continent. An epic sci-fi movie like this, while obviously based on books that were inspired by the oil-obsessed days of the 1950s & 60s, is commenting on our life as humans on Planet Earth and is telling a story that we can relate to as we fight for freedom and peace – just as Paul & Chani do in the first half of Part Two. However, as much as it might be a good story about Fremen fighting back on Arrakis, it turns into something else and becomes a cautionary tale. Unfortunately this means it is not a guide for how to achieve peace and equality. And many of the philosophical ideas in it are questions rather than answers. I can’t provide definitive answers either, but I am still enticed by the questions anyway.

The two main philosophical themes found within Dune: Part Two are: fate / destiny, your chosen path as an individual, how much control you have over it, and how much you just should succumb to and follow it. Along with power / control, the obsessive pursuit of it, the “calculus” of power (as referred to in a line of dialogue), and how chasing power can cause those pursuing it to lose all control or humility. The question of fate and fatalism is most prominent, a common theme in many, many sci-fi films. The Matrix is also about this exact same philosophical conundrum as well. Does Neo have free will – even if he decides to leave his predestined path behind? What does free will even mean? Can he exercise that free will? Is he destined to become “The One”, the hero of Zion and humanity? Can he decide to become that hero or not? What control does he have over his own life if it is a prophecy he will fulfill simply by existing? Paul Atreides deals with these kinds of heavy “hero” questions as well throughout both of Villeneuve’s Dune movies so far. With an extra caveat thrown in – the Bene Gesserit: whispering & plotting & planning & controlling the galaxy for millennia. They “planted” him generations ago and thus he doesn’t have power over his destiny. Or does he?

There is one aspect of Dune: Part Two that I’ve been arguing about ever since my very first watch. Viewers who have read the books know he is about to become an evil “Space Hitler-esque” oppressive leader in the next story. “He is not the good guy!” they proclaim. “Will audiences understand this?” Yes, of course, but he has to become the bad guy first. In this movie we only see him confront the Emperor after drinking the blue water to gain clarity with his visions. In the final act, he starts veering towards being the evil bastard that he’s destined (perhaps? perhaps not?) to become. Thanks to the Bene Gesserit’s whispers & plans. However, up until that moment, up until he drinks the “worm piss”, he actually is a “good guy.” Really. Take a closer look when you watch Part Two again. He refuses to go south knowing it will take him to a very bad place. He fights for the Fremen, with the Fremen, adopting their ideals and mindset. He expresses his desire to help them and be an example of an important fighter, even if he is killed, so the next generation may follow in his footsteps. He wants to do good. He admires the Fremen and their ways. He is trying his hardest not to turn evil – but the Bene Gesserit get the best of him and he falls for their whispers. And, well, the rest is history…

This is when the movie digs deeper into the darker side of the galaxy. My third viewing brought a harrowing question to mind: Can someone wield this much extraordinary power (e.g. control over Spice) and be good? Or will they inevitably always be evil? Essentially, is oppression required in a sense to successfully exploit, sell, and manage an extremely valuable resource? This is the core of Dune: Part Two overall. The opening phrase uttered in this dark, guttural alien language before the Warner Bros logo comes up states: “Power over Spice is power over all.” Yes, this means that power & control are intertwined, and there really is no way to control the Spice without having way too much power (since it’s a vital resource needed for intergalactic space travel). There is even a moment in this movie where Paul quietly mutters that he is not worried about gaining control over Arrakis, he is worried about having too much power and this power will corrupt him. Let’s not forget the classic quote: “Power tends to corrupt; absolute power corrupts absolutely,” stated by British historian Lord Acton. Even on Earth, it seems to be an absolute truth, thus extended into the Dune universe, it does make you wonder: is there really any way Paul could gain enough power to free the Fremen and Arrakis and not be corrupted by that much power? Herbert’s novels say: no.

Those familiar with the books know that the story is essentially a breakdown of the savior trope, showing there is no practicality of a real hero. It is impossible for there to be a holy savior on Arrakis. The Fremen believe in one, because of course, as Chani states in Part Two – the Bene Gesserit have planted this thought and it gives them some false hope to hold onto and wait for. Even if that means waiting centuries. Once you step back and examine Paul’s arc in Part Two, it really is a great tragedy, akin to Shakespeare’s tragedies of great men falling into spirals of despair & insanity. One compelling reaction from a viewer on Twitter states: “Dune: Part Two has left me in artistic euphoria, and also philosophical heartbreak. THAT is what true art is for. To remind us what it is to be human.” Referring to what happens as “philosophical heartbreak” is interesting because it’s trying to reckon with Paul’s great struggle in this movie: attempt to save the Fremen, take down the Emperor, change the galaxy forever; but to do that strategically he must marry the Emperor’s daughter, which means betraying Chani, which means betraying the Fremen. This is slightly different from the book, but it’s still an emotional wallop and quite overwhelming when you sit through it for the first time.

As spectacularly entertaining & awesome as Dune: Part Two is as a sci-fi blockbuster, it’s also chock full of heavy emotions and fascinating philosophical implications. I am in awe of what I’m seeing on screen, while also in awe of all that is racing through my mind with regards to the Fremen and their fight on Arrakis and the control of Spice. In the first movie, I loved seeing Paul rise to the call to lead a revolution, going down a path he was not expecting to take. In the second movie, I’m rocked by his turn, and how his fate seems to be out of his control, no matter how hard he tries. I don’t like this idea that our fate isn’t ours to control, much like Neo in The Matrix. Unlike The Matrix, though, Paul’s path leads him to darkness no matter what hope I have watching his story. The Emperor explains near the end that Duke Leto Atreides ruled from the heart, and that made him “weak”, ergo he had to be eradicated. I want Paul to rule from his heart, to be a leader who brings good to the galaxy. But perhaps that is not possible when half the people on a planet look up to you as a God. At the end of this second movie, we’re left wondering what will happen next when Paul decides to start a Holy War against the other Houses of the galaxy. Alas, the books tell us his future isn’t a good one.

Chani is right all along: “This ‘prophecy’ is how they enslave us!” No one wants to listen, or accept it, but she knows the truth. Even though she loves Paul and even though she knows him well, the scary truth is that his path will lead them farther from where they want to be, towards even darker times for the Fremen. This tragic story continues to make me wonder: how do we actually defeat oppressors and achieve peace and freedom for all? Can a violent revolution even result in peace in the end? Or will it always lead to more war?

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2024 Academy Awards Winners – ‘Oppenheimer’ & Nolan Win Oscars | FirstShowing.net

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2024 Academy Awards Winners – ‘Oppenheimer’ & Nolan Win Oscars

by Alex Billington
March 10, 2024

The 96th Academy Awards are finally upon us and it’s time to watch the show and discover the winners of the most prestigious award in Hollywood. The Oscars are back in their normal routine playing out during the winter months, wrapping up this year’s intriguing & extensive awards season in March. All awards will be marked below in the complete list alongside the nominees. There are ten Best Picture noms from 2023, including both Barbie and Oppenheimer from the “Barbenheimer” craze. While I was originally hoping Poor Things would win, it’s expected that Oppenheimer will take home the most awards this year. It may finally be time for Christopher Nolan to have his year! It might also be the first Oscar for Godzilla if it wins in Best VFX. I’m ready for the night and looking forward to find out what The Academy members have chosen. All of the nominated movies are worthy – including American Fiction and Maestro and The Zone of Interest. Now it’s time to find out who’s taking home Oscars, and who isn’t, at the annual Academy Awards. The full set of nominees below will be updated with the winners added once revealed live – refresh for updates.

BEST PICTURE:

Oppenheimer!!
Congrats Chris & Emma

BEST DIRECTOR:

Christopher Nolan for Oppenheimer

BEST ACTOR:

Cillian Murphy for Oppenheimer

BEST ACTRESS:

Emma Stone for
Poor Things

Continue reading for a complete list of #Oscars2024 nominees & winners. Comment on the winners below.

This will be updated throughout the night to reflect the winners as revealed. Additionally, I might be adding a small bit of personal commentary beneath each category. Winners are highlighted in BOLD below.

Picture:
American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
The Zone of Interest

Thoughts: What a moment! Woohoo! All predictions pointed to this one winning. And yes I am super happy about it!! Nolan finally, finally gets his day. A most deserving win, with Oppie taking home 7 Oscars in total.

Director:
Justine Triet – Anatomy of a Fall
Martin Scorsese – Killers of the Flower Moon
Christopher Nolan – Oppenheimer
Yorgos Lanthimos – Poor Things
Jonathan Glazer – The Zone of Interest

Thoughts: Nolan did it! He got his Oscar. Finally. Finallyyyyyyyy. Always been a Nolan fan. Glad this is his day. After all these movies, finally recognized as the master filmmaker he is. Love him. Congratulations.

Actor:
Bradley Cooper – Maestro
Colman Domingo – Rustin
Paul Giamatti – The Holdovers
Cillian Murphy – Oppenheimer
Jeffrey Wright – American Fiction

Thoughts: I am ecstatic about this! Finally! He wins it and deserves it and this couldn’t be a better pick.

Actress:
Annette Bening – Nyad
Lily Gladstone – Killers of the Flower Moon
Sandra Hüller – Anatomy of a Fall
Carey Mulligan – Maestro
Emma Stone – Poor Things

Supporting Actor:
Sterling K. Brown – American Fiction
Robert De Niro – Killers of the Flower Moon
Robert Downey Jr. – Oppenheimer
Ryan Gosling – Barbie
Mark Ruffalo – Poor Things

Thoughts: As expect and congrats! Exactly what everyone was hoping! Good news and completely deserving.

Supporting Actress:
Emily Blunt – Oppenheimer
Danielle Brooks – The Color Purple
America Ferrera – Barbie
Jodie Foster – Nyad
Da’Vine Joy Randolph – The Holdovers

Thoughts: Of course! She’s the best! I have been rooting her since The Holdovers first opened last fall.

Original Screenplay:
Anatomy of a Fall – Justine Triet & Arthur Harari
The Holdovers – David Hemingson
Maestro – Bradley Cooper & Josh Singer
May, December – Samy Burch; Story by Samy Burch & Alex Mechanik
Past Lives – Celine Song

Thoughts: As expected for tonight! A big win for France! This went on long journey from Cannes last year, but this screenplay kept wowing everyone all year with its complexity. Congrats.

Adapted Screenplay:
American Fiction – Cord Jefferson
Barbie – Greta Gerwig & Noah Baumbach
Oppenheimer – Christopher Nolan
Poor Things – Tony McNamara
The Zone of Interest – Jonathan Glazer

Thoughts: Happy about this! I was hoping it would win, had the right buzz & energy behind it all season.

Animated Feature:
The Boy and the Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse

Thoughts: Wow! Miyazaki wins! Everyone was expecting Spider-Man, but never doubt the magic of Ghibli.

International Feature:
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teachers’ Lounge (Germany)
The Zone of Interest (UK)

Thoughts: Congrats! As expected. I would’ve loved to have Perfect Days win this one instead, but this is an important film and it’s the right time for it and for Glazer to win anyway.

Cinematography:
El Conde – Edward Lachman
Killers of the Flower Moon – Rodrigo Prieto
Maestro – Matthew Libatique
Oppenheimer – Hoyte van Hoytema
Poor Things – Robbie Ryan

Thoughts: Huzzah! Congrats to the genius Hoyte for finally winning his first Oscar. Totally deserves it.

Documentary Feature:
Bobi Wine: The People’s President – Moses Bwayo, Christopher Sharp, John Battsek
The Eternal Memory – Maite Alberdi
Four Daughters – Kaouther Ben Hania & Nadim Cheikhrouha
To Kill a Tiger – Nisha Pahuja, Cornelia Principe, David Oppenheim
20 Days in Mariupol – Mstyslav Chernov, Michelle Mizner, Raney Aronson-Rath

Documentary Short:
The ABCs of Book Banning – Sheila Nevins & Trish Adlesic
The Barber of Little Rock – John Hoffman & Christine Turner
Island in Between – S. Leo Chiang & Jean Tsien
The Last Repair Shop – Ben Proudfoot & Kris Bowers
Nǎi Nai & Wài Pó – Sean Wang & Sam Davis

Animated Short:
Letter to a Pig – Tal Kantor & Amit R. Gicelter
Ninety-Five Senses – Jerusha Hess & Jared Hess
Our Uniform – Yegane Moghaddam
Pachyderme – Stéphanie Clément & Marc Rius
War Is Over! Inspired by the Music of John & Yoko – Dave Mullins & Brad Booker

Live-Action Short:
The After – Misan Harriman & Nicky Bentham
Invincible – Vincent René-Lortie & Samuel Caron
Knight of Fortune – Lasse Lyskjær Noer & Christian Norlyk
Red, White and Blue – Nazrin Choudhury & Sara McFarlane
The Wonderful Story of Henry Sugar – Wes Anderson & Steven Rales

Visual Effects:
The Creator
Godzilla: Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible – Dead Reckoning Part One
Napoleon

Thoughts: YES! I am so happy for them! Congrats! Right what I was hoping would happen. Huzzah. Super happy to see the whole VFX team bringing Godzilla toys up on stage and juggling them and Oscar statues.

Production Design:
Barbie – PD: Sarah Greenwood; Set: Katie Spencer
Killers of the Flower Moon – PD: Jack Fisk; Set: Adam Willis
Napoleon – PD: Arthur Max; Set: Elli Griff
Oppenheimer – PD: Ruth De Jong; Set: Claire Kaufman
Poor Things – PD: James Price & Shona Heath; Set: Zsuzsa Mihalek

Thoughts: Yes! Congrats! So glad Poor Things is picking up some wins, especially for the totally wacky and crazy and brilliant sets in this film. Love it.

Costume Design:
Barbie – Jacqueline Durran
Killers – Jacqueline West
Napoleon – Janty Yates & Dave Crossman
Oppenheimer – Ellen Mirojnick
Poor Things – Holly Waddington

Make-Up & Hair:
Golda – Karen Hartley Thomas, Suzi Battersby, Ashra Kelly-Blue
Maestro – Kazu Hiro, Kay Georgiou, Lori McCoy-Bell
Oppenheimer – Luisa Abel
Poor Things – Nadia Stacey, Mark Coulier, Josh Weston
Society of the Snow – Ana López-Puigcerver, David Martí, Montse Ribé

Editing:
Anatomy of a Fall – Laurent Sénéchal
The Holdovers – Kevin Tent
Killers of the Flower Moon – Thelma Schoonmaker
Oppenheimer – Jennifer Lame
Poor Things – Yorgos Mavropsaridis

Thoughts: Deserving win here. And the first of many to come at the ceremony tonight for Oppenheimer.

Sound:
The Creator
Maestro
Mission: Impossible – Dead Reckoning Part One
Oppenheimer
The Zone of Interest

Thoughts: Wow! A surprise win but of course the incredible, unsettling sound work in this deserves to win.

Original Score:
American Fiction – Laura Karpman
Indiana Jones and the Dial of Destiny – John Williams
Killers of the Flower Moon – Robbie Robertson
Oppenheimer – Ludwig Göransson
Poor Things – Jerskin Fendrix

Thoughts: YES! Phew! An all-timer score here, one of the best ever – so so so glad this won.

Original Song:
“The Fire Inside” from Flamin’ Hot – Diane Warren
“I’m Just Ken” from Barbie – Mark Ronson & Andrew Wyatt
“It Never Went Away” from American Symphony – Jon Batiste & Dan Wilson
“Wahzhazhe (A Song For My People)” from Killers of the Flower Moon – Scott George
“What Was I Made For?” from Barbie – Billie Eilish & Finneas O’Connell

Thoughts: Barbie wins an Oscar! But I would’ve rather given it to “I’m Just Ken” instead…

Honorary:
Angela Bassett, Mel Brooks, Carol Littleton (More info)

Final Thoughts: Congrats to all of the winners! I’m extremely happy about Oppenheimer and Poor Things winning so many Oscars – both of these were in my Top 5 of 2023. I think Emma Stone absolutely deserves the win over Lily! She gave the most impressive performance of the year, without a doubt, and while Lily’s performance is also outstanding it was truly Stone’s to win. I was also hoping to Da’Vine Joy Randolph and Cillian Murphy would win – and they did! Huzzah! I do think Paul Giamatti would’ve been just as satisfying instead, but once again it’s Murphy’s year and it would’ve been a bigger travesty if he didn’t take home the Oscar. Nearly every other win is just right. The Zone of Interest winning Best Sound over Oppenheimer was a big surprise at first, but also a great win – that sound design is astonishing and vital to the film’s unsettling vibe. Of course it’s the right pick in the end. And finally, Godzilla: Minus One is a sweet victory! Godzilla’s first ever Oscar after 70 years since the big lizard first appeared on the big screen in 1954. What a night. I’m not upset about much…! Every winner this year really deserved it and I think The Academy chose well again.

[For last year’s Academy Awards winners, fear. Everything Everywhere All at Once winning big, click here.]

Chime in below after reviewing the list of 2024 Oscars winners updated throughout the night and tell us if you’re satisfied with this year’s awards, and thoughts on the amusing ceremony hosted by Jimmy Kimmel – the main event being held at the Dolby Theatre in Hollywood. One final congratulations to all of 2024’s winners as well as every last nominee! Are you relieved? Any thoughts on the 96th Academy Awards?

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Hey Filmmakers – Stop Selling Your Audience Favorite Films to Netflix | FirstShowing.net

Post By Entertainment cinema, discuss, editorial, feat, filmmakers, filmmaking, hit man, Hollywood, it's what's inside, netflix, sundance film festival, tech industry, theatrical distribution

Hey Filmmakers – Stop Selling Your Audience Favorite Films to Netflix

by Alex Billington
February 20, 2024

Every month there’s another headline: Netflix buys that great film that everyone loved watching together for an excessive amount of money. Everyone loves to grumble about the headline, and talk about the film when this news hits, but will they actually watch it whenever it’s released on Netflix? Will Netflix even (properly) promote it? Will they even tell their ~260 million subscribers worldwide about the film when they debut it streaming on their platform? Why does Netflix love buying these great theatrical films and dumping them streaming without any fanfare or celebration or anything at all that connects with the audience experience? Why do care so little for the actual audience? I’m so tired of this routine. I’m not so foolish as to tell Netflix to change their ways – apparently they have no interest in this anyway. Instead, I think it’s up to filmmakers to realize that it isn’t a good idea to sell your movie to Netflix anymore – no matter how much money they want to throw at you. Choose a reputable theatrical distributor first, then let Netflix get the streaming rights later after it becomes an even bigger success. That is the best path to take when your film is a hit at festivals.

The debate about Netflix has been raging for years and years. Old Hollywood doesn’t really like them much, but they’re here to stay whether we like it or not. Netflix’s success means they can continue to do whatever they want and make money and be disruptive – no matter the complaints. However, are they actually being “disruptive” anymore? I don’t think so. They are just being annoying. And everyone knows it – to be frank. What has driven me to write this editorial now is watching Netflix buy three of the best films in the last six months that are three of the best theatrical experiences I’ve had at any film festival. It began with Netflix buying Richard Linklater’s Hit Man out of the 2023 Venice Film Festival – I have never seen an audience of curmudgeonly European critics in Venice go THIS wild during a screening. Pardon my French, but they lost their shit for the film, which was exhilarating. It continued a few months later with Netflix buying Greg Jardin’s It’s What’s Inside and Josh Greenbaum’s Will & Harper at the 2024 Sundance Film Festival in January. Once again, two of the most rapturous and exciting audiences I’ve watched films with during any of the 18 years I’ve been going to this fest. That tangibly warm reception, the crowd going nuts, the applause, all of that really, truly matters with cinema. We need to stop ignoring this truth and pretending otherwise…

Netflix doesn’t seem to care anyway. There’s a quote every few months wherein some executive talks about how the theatrical experience is irrelevant or uninteresting to them as a brand. Most recently, Netflix’s Chief Content Officer Bela Bajaria stated that Netflix will never do theatrical as “our members love films and they want to see films on Netflix.” Do they? Does she even know what she is saying here? I doubt it. In a big THR article from April 2023, Netflix co-CEO Ted Sarandos offered another frustrating comment: “Driving folks to a theater is just not our business. Having big new desirable content drives value for our members and drives value for our business. There are no major changes in play.” What he seems to not understand is that the way you make your “content” (btw – fuck this word) into “big new desirable content” that drives value is by letting it play in theaters first. There is research on this that confirms it’s beneficial – the most successful streaming titles all opened first in theaters. Huh. Go figure… At what point will Netflix wake up and realize that it will actually benefit their business, and their pathetic “hours viewed” metric (because they’re afraid to release all the other statistics they collect – like how many folks actually watched a film from start to finish).

My rant, this article, or anyone’s rant, won’t change Netflix either. The company recently parted ways with Scott Stuber, who was running their film division for years. Apparently even Stuber was frustrated with their lack of interest in theatrical runs and despite arguing with Sarandos and other execs, they would not budge. In another recent THR article from January 2024, they included this nugget which is pretty telling:

“Even as the pipeline has slowed, Stuber has not been shy about his greatest frustration: Sarandos’ continuing refusal to offer any film a full theatrical release. Hope flickered when the streamer agreed to give Glass Onion, the 2022 Knives Out sequel, a broader run in cinemas than any previous Netflix film, putting it in about 600 theaters for a week. The movie grossed $16 million in that brief window and Stuber dreamed that Sarandos might develop a taste for cash.”

This falls in line with most of the way the extraordinarily stubborn corporate world works right now (see: David Zaslav at Warner Bros). If there’s someone smart on the team who might challenge archaic concepts and wants to make things better: get them out! Kick them out, lay them off, fire them, by whatever means necessary, don’t let anyone with think-outside-the-box “maybe we should try this” thinking in your company anymore! Instead, fill the roles with mindless drones & corporate robots who say exactly what the stubborn CEO wants to hear and never anything else (e.g. Bajaria). If Scott Stuber couldn’t change Sarandos’ mind, why do I (or anyone else) think they could instead? It’s a lost cause, unfortunately. And despite experiments like Glass Onion, or even the facade of Netflix buying classic one-screen cinemas (the Paris Theatre in NYC and the Egyptian in LA), they’re so obsessed with being anti-theatrical they have turned into an anti-cinema company. They’re so obsessed with their “content” and “hours viewed” data that they forgot to actually build awareness and excitement around their “content” to begin with. If they were any smarter, they might realize all of this is connected – and that showing films theatrically does not in any way hurt their numbers, it only boosts them. The proof is in the pudding! It will build them into a better brand. When will they realize this?

This brings me to the point I want to make here and now: filmmakers and sales agents and producers and creators need to stop selling their films to Netflix. Yes, it’s a scary prospect, rebellious (and perhaps a bit disruptive) to even say out loud, especially when they’re the highest bidder. But it’s a better move – for them, for the film, for the industry, for cinema itself. Greg Jardin and Richard Linklater shouldn’t have agreed to the deal that was made for their films It’s What’s Inside and Hit Man, respectively. They should’ve said “no” and waited it out, gone with someone else that would actually give their films a proper theatrical release. I’m sure it’s an irresistible pitch: we’ll give you tons of money and your film will also be available in over 190 countries around the world! We’re a big platform! Everyone will have the chance to watch it! Yes, sure, but there’s more to cinema than just that. And here is the kicker – if you play your cards right, and go with a proper theatrical release first, Netflix will eventually want the rights to play the film anyway. Of course they will! Especially once it becomes a huge theatrical hit and everyone is talking about it and telling their friends – maybe there is an even more lucrative deal in the cards if you wait it out. This is how things used to work. But that means resisting a tempting initial offer, and resisting the highest bidder to go with the right bidder.

I honestly don’t have a problem with Netflix in general, I just wish they’d do the right thing and partner with a theatrical distributor before putting it on Netflix because that will actually boost them and their brand and their films – but they just don’t get it. Let me reiterate that I really like Netflix as a platform – it is amazing that they can release a film and it will be viewable in over 190 countries around the world (without worrying about local distribution rights, which is a whole other industry problem to discuss another day). However, they’re not the right place to go if you really care about cinema, or if you want your film to have an impact in the world. Maybe one or two of Netflix’s big films every year go on to have a cultural impact because they have good PR teams handling their marketing & publicity. Most of their films don’t have this enthusiastic support. If a filmmaker sells their film to Netflix right out of a festival because they offer the most money – will that film ever be available on physical media, will it ever get a theatrical release down the line? Is that even possible with Netflix? What if you want to show it in theaters one day in the future – will Netflix allow that to happen? What if Netflix ever shuts down (unlikely, but let’s just go with the hypothetical) – how will you get your film back and how will you show it to your family & friends? Aside from harddrive copies, it’s not available on DVD or Blu-ray (or VHS) anywhere. Does it exist in the real world or only on their servers?

What I find particularly strange is that even when a filmmaker has a bad experience with Netflix, and even if they know they are bad at promoting films, they still end up selling to them anyway. This is exactly the case with Linklater. Netflix released his latest rotoscoped film Apollo 10½: A Space Age Childhood in April 2022 and told pretty much no one it was out. Most people didn’t even know it was released. Linklater later expressed frustration in an interview: “Then one day it showed up on a platform with no fanfare. It’s always kind of sad when you realize even your friends don’t know your film is out. To me, if anything good happens from this stage on, it’s just lucky.” Yeah that is the same for most films dumped onto Netflix. I don’t buy the claim that Linklater had nothing to do with Hit Man selling in Venice and instead it apparently was entirely handled entirely by sales agents & producers. Even if it that is the case, why could he not express a very strong opinion and do everything to resist selling to Netflix if he isn’t happy with how they handled his last film. Again, it’s more important that a good film finds an audience eventually, and that’s best achieved by a distributor believing in their stellar “content” and supporting it fully (with proper marketing and publicity).

For those who believe there is still importance in what Netflix does for cinema and how they support indie films and filmmakers who usually don’t get this kind of exposure, that has recently been mostly debunked by a study with Netflix connecting with Africa. A report was recently published from Nigeria and the Nollywood movement, which Netflix stepped into and tried to participate in by sponsoring and investing in filmmakers and the local industry. Good thing to do, right? While it did achieve some success, it didn’t have much of an impact overall, mostly because Netflix doesn’t really know how to actually support cinema and the culture. “On the critical streaming side, the report suggests that Netflix in Nigeria might not be fully tapping into its potential market, given low subscriber numbers relative to population.” Why, exactly? Their findings: “[It] critiques the reliance on streaming rankings as mere marketing tools rather than actionable insights that could drive the industry forward. It proposes using rankings as a prompt for better conversations on audience preferences and using these metrics alongside other data points to develop and market Nollywood projects more effectively.” Almost as if Netflix doesn’t really care about anything except their own internal “hours viewed” numbers and not the industry it’s supposed to be involved with & the artists that inhabit it…

The film industry is in a bad place right now, yet the film industry doesn’t like to admit this or talk about it. They want business to proceed as usual… They want to focus on making money. For much of the industry, that means if Netflix is going to pay the most for a movie, it’s a “good” thing. It’s time that we challenge this belief and confront the frustrating reality that Netflix releasing these audience favorite films is actually quite bad for cinema and for the industry overall (and audiences, even if they don’t quite understand it). Simply selling a film for tons of money is not an objectively healthy thing for the film industry, despite what many profit-driven minds think. Sundance is infamous for many films selling for high prices and failing after the festival (yes, from a few theatrical distributors, but this is a much different conversation). I’m a huge fan of Hit Man and Will & Harper and It’s What’s Inside and I guarantee at least one of (if not all of) these films will be released without much pomp & circumstance. They’ll drop it on Netflix, send a few emails out, buy a few billboards in Los Angeles, and call it a day. Netflix needs to evolve and innovate and disrupt again. That means disrupting the theatrical world by participating in theatrical distribution. Apple knows how to do this correctly with Apple TV films. I hope Netflix ends up realizing their mistake… Until then, filmmakers shouldn’t sell their hit films to this streaming company until they can actually prove they care about cinema.

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96th Academy Awards Nominations Announced – Full List for 2023 | FirstShowing.net

Post By Entertainment 2023 movies, academy awards, academy nominations, awards, barbie movie, discuss, Killers of the Flower Moon, Martin-Scorsese, movie news, nominations list, Oppenheimer, oscar nominations

96th Academy Awards Nominations Announced – Full List for 2023

by Alex Billington
January 23, 2024

The complete list of nominees for the 96th Academy Awards, the most prestigious award in Hollywood, have been announced today (from Oscars.org). The Academy of Motion Picture Arts and Sciences revealed the nominees via live broadcast. The nominations from 2023 are, as expected, an exhilarating collection of some of the best movies of the year. Poor Things and Oppenheimer scored the most nominations, ending up with nods in almost every single category. Two of my favorite films of the year – this is great news! The most interesting surprises: Napoleon and Anatomy of a Fall ending up with so many noms in various categories. I’m also happy to see Godzilla: Minus One sneaking in for Best VFX. What a list! The Academy chose a total of ten Best Picture nominees for 2023, including: Past Lives, Poor Things, The Zone of Interest, American Fiction, Anatomy of a Fall, and yes, Barbie. Without further ado, view the full list of 2023 nominees below.

The 96th Academy Awards ceremony will be on Sunday, March 10th at the Dolby Theatre in Hollywood – broadcast live by ABC. This year’s ceremony will be hosted by Jimmy Kimmel. Here are 2023’s nominations:

Picture:
American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
The Zone of Interest

Director:
Justine Triet – Anatomy of a Fall
Martin Scorsese – Killers of the Flower Moon
Christopher Nolan – Oppenheimer
Yorgos Lanthimos – Poor Things
Jonathan Glazer – The Zone of Interest

Actor:
Bradley Cooper – Maestro
Colman Domingo – Rustin
Paul Giamatti – The Holdovers
Cillian Murphy – Oppenheimer
Jeffrey Wright – American Fiction

Actress:
Annette Bening – Nyad
Lily Gladstone – Killers of the Flower Moon
Sandra Hüller – Anatomy of a Fall
Carey Mulligan – Maestro
Emma Stone – Poor Things

Supporting Actress:
Emily Blunt – Oppenheimer
Danielle Brooks – The Color Purple
America Ferrera – Barbie
Jodie Foster – Nyad
Da’Vine Joy Randolph – The Holdovers

Original Screenplay:
Anatomy of a Fall – Justine Triet and Arthur Harari
The Holdovers – David Hemingson
Maestro – Bradley Cooper & Josh Singer
May, December – Samy Burch; Story by Samy Burch & Alex Mechanik
Past Lives – Celine Song

Animated Feature:
The Boy and the Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse

International Feature:
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teachers’ Lounge (Germany)
The Zone of Interest (UK)

Cinematography:
El Conde – Edward Lachman
Killers of the Flower Moon – Rodrigo Prieto
Maestro – Matthew Libatique
Oppenheimer – Hoyte van Hoytema
Poor Things – Robbie Ryan

Documentary Feature:
Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill a Tiger
20 Days in Mariupol

Documentary Short:
The ABCs of Book Banning
The Barber of Little Rock
Island in Between
The Last Repair Shop
Nǎi Nai & Wài Pó

Animated Short:
Letter to a Pig
Ninety-Five Senses
Our Uniform
Pachyderme
War Is Over! Inspired by the Music of John & Yoko

Live-Action Short:
The After
Invincible
Knight of Fortune
Red, White and Blue
The Wonderful Story of Henry Sugar

Visual Effects:
The Creator
Godzilla: Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible – Dead Reckoning Part One
Napoleon

Costume Design:
Barbie – Jacqueline Durran
Killers – Jacqueline West
Napoleon – Janty Yates and Dave Crossman
Oppenheimer – Ellen Mirojnick
Poor Things – Holly Waddington

Sound:
The Creator
Maestro
Mission: Impossible – Dead Reckoning Part One
Oppenheimer
The Zone of Interest

Original Song:
“The Fire Inside” from Flamin’ Hot
“I’m Just Ken” from Barbie
“It Never Went Away” from American Symphony
“Wahzhazhe (A Song For My People)” from Killers of the Flower Moon
“What Was I Made For?” from Barbie

Congratulations to all of this year’s nominees. I’m happy about most of these, especially seeing the terrific movies Poor Things and Oppenheimer and Barbie and American Fiction and The Holdovers with so many nominations. I love each and every one of these! I would have preferred to see Joe Hisaishi for The Boy and the Heron and Daniel Pemberton for Across the Spider-Verse both nominated for Best Score, this is rather upsetting. However, I’m pretty sure Oppenheimer is winning anyway because it’s a masterpiece score (and it is cool to see that funky Poor Things score sneaking in). I don’t think it’s good to spend too much time dwelling on snubs and omissions, considering thee is plenty to celebrate with these nominees anyway. The Creator is now an Oscar nominee! Same with Society of the Snow. And the animated film Robot Dreams even got a nod. Colman Domingo is excellent in Rustin, even if the film isn’t so great. I am sure there will be tons of complaints about everything, as is the norm, but I believe this year’s picks are fantastic all around. Even Barbie deserves to be included with all the others. What do you think of these nominations for 2023?

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Oppie & Miles & Nora & Arthur – Alex’s Top 10 Favorite Films of 2023 | FirstShowing.net

Post By Entertainment 2023 favorites, alex's favorites, best films of 2023, best movies of 2023, best of the year, cinema, discuss, feat, la chimera, lists, looking back, Oppenheimer, review, top 10, top movies

Oppie & Miles & Nora & Arthur – Alex’s Top 10 Favorite Films of 2023

by Alex Billington
January 5, 2024

“The world is changing. Reforming. This is your moment.” Another year, another Top 10. After watching more than 400 films throughout 2023 (always logging everything on my Letterboxd for anyone curious) it’s time to share my final selection of My Top 10 Favorite Films of 2023. I try to watch as much as I can and give myself time to catch up with any extra films at the end of the year, but my favorites can come from anytime in 2023. I fell hard for all the major ones – Oppenheimer, Spider-Verse, Past Lives, Poor Things, and American Fiction. Before anyone asks about the ones missing: I’m not that big on Killers of the Flower Moon (it’s good not great), I quite like Anatomy of a Fall but it didn’t make the cut, Godland and The Eight Mountains are on last year’s Top 10, Saltburn is bad (yeah it’s meh), and Godzilla: Minus One is great also didn’t make the cut. I stuck to my gut and chose these 10 that made me passionate for cinema all over again.

For the previous year’s Top 10 of 2022 list, topped by EEAAO of course, click here (also 2021 + 2020). You can check out my selection of Favorite Movie Posters from 2023 with a look at some of the best cinema art.

A few notes: this is a list of my favorite films, not the best films of the year, these are the ones that I love for my own reasons and I’ll try to explain why with each one. As always, I wish I had so much more to time to watch/rewatch films, and see every last film that played in 2023, but that’s impossible so this is just what I decided to run with. Also – my film selection is based on the date when I originally saw the film at a public event, including film festivals (Venice, Sundance) or public releases limited or otherwise. This is not based on only films released in 2023, but the ones I experienced in 2023, and is a good representation of the best cinema has given us, in my opinion. I’m always a bit nervous to finalize my list, but these are all films I love.

#1. La Chimera directed by Alice Rohrwacher

Arthur and his band of Tombaroli. I watched this film three times at three festivals in 2023. It’s that good. There are two songs performed in the film by an Italian folk singer and when the first one kicks in (the song about the “Tombaroli”), I get chills every time. I adore this film. It’s magical, mystical, and special in about 100 ways. I’ve never seen anything like it, and I don’t think anyone else can even attempt to replicate Alice Rohrwacher’s filmmaking. Truly one-of-a-kind. La Chimera is a mesmerizing, alluring journey through the afterlife – exploring the idea of souls and humanity traversing across time from generation to generation. I am in awe of the performance by Josh O’Connor as Arthur, one of my all-time favorite performances. There’s an aching longing that he embodies so perfectly, while maintaining his sense of appreciation for life as he rolls around the Italian hillsides with the Tombaroli. The shot-on-film cinematography by the French DP maestro Hélène Louvart is also heavenly. I can watch this film over & over & over and never tire of it.

#2. Oppenheimer directed by Christopher Nolan

“Are you saying that there’s a chance that when we push that button… we destroy the world?” Yes, indeed there is. This might just be Christopher Nolan’s Magnum Opus. It’s an incredible movie. I wasn’t sure if he would pull this off, it’s such a precarious and dangerous story to tell, yet he aced it. A monumental work of cinema and storytelling. The moment I knew it would be on my Top 10 actually hit me during my second viewing. I went to see it in IMAX (after the initial press screening in a regular cinema) and they cranked the volume and when that “Can You Hear the Music” track kicks in and it cuts to the shot of the clouds over the German city while Oppie’s living in Europe, I was completely taken away. My whole body was shook to its core by Ludwig Göransson’s one-of-the-best-of-all-time scores (yes, seriously) perfectly complementing this intricate story of a complicated intellectual and his destructive creation. And that is just one part. Cillian Murphy’s performance is flawless, the set design and production design is extraordinary, the editing are breathtaking. This is the kind of cinematic experience I live for, and once again, Nolan has made my Top 10.

#3. Spider-Man: Across the Spider-Verse directed by Joaquim Dos Santos & Kemp Powers & Justin K. Thompson

It does not bother me at all that this is only “half of the story,” it’s a phenomenal work of art and completes a strong arc with Gwen anyway. The first Into the Spider-Verse was on my Top 10 of 2018, and I’m happy that the sequel is as good as, if not better, than that masterpiece. Spider-Man: Across the Spider-Verse is the they-actually-went-and-did-it sequel that lives up to the heart & soul of the original, and again breaks the barriers of visual storytelling by pushing everything further than it has before. I wrote a glowing review when it first came out: “It’s the epitome of cinema as a visual medium, an eye-popping blend of comic book fundamentals, animation (all styles / techniques / formats), and modern storytelling concepts. As always with cinema, story is key – and the filmmakers know this and care deeply. They’ve also outdone themselves in creating one of the most mesmerizing and psychedelic works of art in cinema.” I love how the colors and the stylistic choices in every scene represent the emotions of the characters and what they’re feeling as they go through a moment in their story. I can’t wait to find out what happens next in Beyond the Spider-Verse.

#4. Past Lives directed by Celine Song

What a film. What a beautiful film. What more can I add to the discourse that hasn’t already been said by everyone else who adores this touching film from writer / director Celine Song. I am still so astonished that this is her feature debut, but it also goes to show she really has an eye for cinematic storytelling. There are a few shots that I can never forget just because the cinematography is so lovely to look at, so softly and warmly capturing the moment with a great amount of intimacy focused on Nora. It’s her story after all. I had to watch this film twice before really settling into my appreciation of it, and accepting it as such a moving work of art that does work as well on repeat viewings. I got hit hard by emotions both times when it gets to that end scene, where Nora walks Hae Sung out to his Uber at the end of his trip to NYC. That’s the power of great cinema. Absolutely an iconic performance from Greta Lee taking on Nora, but I also need to praise both John Magaro and Teo Yoo in holding their own with grace as her two great loves. Such charmers.

#5. Poor Things directed by Yorgos Lanthimos

Bella Baxter! Woman of the year! Heartbreaker! Love-maker! Pastéis enjoyer! Ha ha. This film SLAYS. The press screening at the Venice Film Festival was one of the year’s best experiences because you could almost touch the buzz wafting in the air with everyone loving it more & more as it played. Which is not a common occurrence in a room full of snobby critics, to be frank. I also watched this film two times at two different festivals to confirm it holds up and it does. And the audience loved it the second time as well. One of the best performances ever from Emma Stone, though I always think she’s exceptional. At first she doesn’t seem that refined… until you watch her progressively mature and begin to “grow up” over the course of the film, becoming more empowered and insightful as she surfs the waves of patriarchy. The strange score by Jerskin Fendrix is so inexplicably odd yet nicely adds to the weirdness of the whole film, and it’s hard to forget after hearing it. A total knock out, sex-positive, feminist, fearless, freaky creation from the mind of Yorgos Lanthimos. I still think the opening 30 minutes are rough, but other than that, this is a genius film.

#6. Perfect Days directed by Wim Wenders

A-ha! This is another of my personal favorites from Cannes back in May (my full review) that I haven’t been able to get off of my mind all year. The peace and calm of this film is deeply inspirational and so moving for me. I am profoundly drawn to the Buddhist philosophy found within, the way it shows us how Hirayama has left his life of luxury and wealth to live a simple life, doing the job that no one wants to do yet still finding happiness in every moment. I love that he takes photos of trees. I love his little apartment that he cleans up every day. I love how humble and heartfelt he always is dealing with any situation. Koji Yakusho really does deserve all the awards and accolades for his performance as Hirayama in this, it’s the most soulful and rejuvenating performance in any film of 2023. The soundtrack is great, all of his favorite oldies that make his days brighter. Another film I’ve been recommending and encouraging anyone watch whenever they can.

#7. American Fiction directed by Cord Jefferson

Have a laugh with Monk as he sets out to prove his point about how dumb everyone is right now. This film! Such a joy to watch, some of the best laughs of the year. Such a smart script that slices through the bullshit to show everyone how much the conversation around media right now is total nonsense. Yes of course the meta commentary is obvious, especially considering this is Cord Jefferson’s feature directorial debut, and we have to wonder if he’s thinking about what everyone is saying about this film in the context of what the film is literally about. Jeffrey Wright is always great in any role, no matter how big or small (love him in Wes Anderson’s films), but he’s especially remarkable in this film. Not only does he need to ace the Stagg R. Leigh persona on top of his regular performance, he also needs to hold all the emotional weight of someone going through this and dealing with the loss in his family. I also really do appreciation the more emotional, grounded side of the story about his family and budding romance, it adds depth to the film & Monk’s story.

#8. The Holdovers directed by Alexander Payne

A new Christmas classic. Yep, it’s already a classic. I watched this film again during Christmas just to see if it holds up to that acclaim, and it really does. There’s just something so cinematically warm and wholesome and endearing about it, even though it’s set during a cold winter. The performances, the vintage 70s vibe, the snowy setting, the soundtrack and song choices, the story about these three lonely people going through the holidays trying to make sense of their lives. How much of a difference good friends and good cheer and good moments can make. A shining example of how to make a great film where everything works together. Paul Giamatti is hilariously unforgettable as the stodgy Paul Hunham, Dominic Sessa is impressive and endearing in his first ever big screen role as Angus Tully, though my favorite performance is still Da’Vine Joy Randolph as Mary Lamb. Her “mhmms” will live on in my mind forever. I’ve been recommending this film to everyone this winter. 🎶 “Crying never did nobody no good, no how… That’s why I don’t cry…” 🎶

#9. The Taste of Things / The Pot au Feu directed by Anh Hung Tran

I’m still not sure if this new English title holds up. The Taste of Things is all too bland for such an elegant film. I prefer it as The Pot au Feu, which is what it originally screened under at Cannes this year (though I also don’t care for the longer French title La Passion de Dodin Bouffant). Nonetheless, this magnificent film is one of the best food films ever made. Perfect from start to finish, with some of the finest cinematography all year. Gorgeous shots galore, everything’s framed so perfectly. I actually think it’s better than most of the other food films that other critics reference when they compare this one. Juliette Binoche plays Eugénie with just the right amount of confidence and sophistication, an unforgettable character and incomparably great chef. Benoît Magimel as the Dodin Bouffant also brings his charm to the table to match her, as their chemistry is vitally important in making the heart of this film beat so vividly and so passionately. I may not want to try every dish she makes, but that doesn’t make me like this any less. That pear shot is an all-timer.

#10. The Monk and the Gun directed by Pawo Choyning Dorji

Another wonderful surprise from the second half of the year. Bhutanese director Pawo Choyning Dorji returns with his second feature film after Lunana: A Yak in the Classroom, and its even better with a more potent message. Aside from how terrific it is to see more stories from the tiny mountain country of Bhutan told authentically from the Bhutanese side (which is what makes this one particularly unique), this film becomes something more meaningful once it gets to the core of what it’s trying to convey with this story of “the monk and the gun.” The performances are all exceptional, especially by Tandin Wangchuk as Tashi and Deki Lhamo as Tshomo. As the film plays out (why does he need this gun?) and the story unfolds, I started to feel more and more invigorated by what I was watching, where it was going, what it was trying to say. They don’t know what you to know that this film makes fun of American ideals, but it does so in such a wholesome and uplifting way it’s hard not to be completely charmed by this film. Absolutely worth a watch.

BONUS! Mars Express directed by Jérémie Périn

Another animated movie that deserves to be mentioned alongside all the other movies in this Top 10. Yes, of course I already have Across the Spider-Verse on here, but animation is awesome (and it’s for anyone of any age to enjoy) and so is this movie. I haven’t stopped thinking about this since first catching it at the 2023 Cannes Film Festival back in May. It has stayed on my mind all this time and stands out. Mars Express is a spectacular, thrilling, visually engaging modern animated sci-fi movie. It’s a futuristic noir detective story about robots and AI and technology, borrowing plenty from the classics Ghost in the Shell & Blade Runner, but still delivering something entirely unique in its own ways. Not enough people have been able to see it yet, following its premieres in Cannes & Annecy last summer, but I think the buzz will grow with more time. The characters are memorable, the whole experience is riveting and even better watched on the big screen if at all possible. This is the excellent sci-fi cinema I look forward to encountering and it is worth discovering.

More 2023 Faves: Hayao Miyazaki’s The Boy and the Heron, Sam Freeman & Ng Choon Ping’s Femme, Richard Linklater’s Hitman (tore down the house in Venice), Chloe Domont’s Fair Play, Laura McGann’s The Deepest Breath, Roger Ross Williams’ Cassandro, Molly Gordon & Nick Lieberman’s Theater Camp, Greta Gerwig’s Barbie (yep!), Jeff Rowe’s Ninja Turtles: Mutant Mayhem, and Charlotte Regan’s Scrapper.

I could discuss all of my favorites endlessly, so if you ever want to chat about cinema, just ask me something about any of them. You can always find all of my ratings and additional thoughts on every film I watched in 2023 on my Letterboxd profile. There are always a few other films I did not get the chance to watch last year due to time constraints, but I still try to catch as many films as possible that my colleagues have been talking about. I am always watching new work throughout the year, seeking out the most exhilarating cinema – films that leave me in awe. If you have questions or thoughts about my Top 10 picks (or anything else), please get in touch: @firstshowing or @alexb.bsky.social. Now let’s dive right into 2024 with hope for what lies ahead.

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Why Can’t the US Try Japan’s Marketing for ‘The Boy and The Heron’? | FirstShowing.net

Post By Entertainment animation, discuss, editorial, feat, foreign films, ghibli movie, hayao miyazaki, hollywood marketing, how do you live, Japan, studio ghibli, the boy and the heron, toshio suzuki

Why Can’t the US Try Japan’s Marketing for ‘The Boy and The Heron’?

by Alex Billington
September 27, 2023

It’s the year 2023 and for the first time in 10 years we’re being graced with the presence of a new Hayao Miyazaki movie. The animation legend has directed his 12th feature, known in English as The Boy and the Heron, originally titled How Do You Live? (or 君たちはどう生きるか) in Japanese. The film already opened in Japan in July right in the middle of the summer, and it’s set to open in US theaters nationwide in December this fall. Described as a “big fantastical film”, it follows a boy named Mahito Maki, who discovers an abandoned tower in his new town and enters a fantastical world with a talking grey heron. The release in Japan was a fascinating experiment – because it opened without any marketing other than one poster and the title. Yet it did quite well – playing #1 at the Japanese box office for two weeks in a row in July. Though the initial reception in Japan was lukewarm with mostly positive reviews (no one called it a “masterpiece”), Western audiences are going crazy for it ever since its premiere at the 2023 Toronto Film Festival. But I’ve been wondering – why can’t the US distributor also open it without any marketing? And why did they cave?

Anyone that has been following FirstShowing for the 17 years we’ve been around knows I have always been super critical of Hollywood marketing, in a brutally honest way that bothers some who don’t dare mess with Hollywood. Sometimes they do brilliant things (e.g. The Dark Knight & Tron Legacy viral campaigns) but more often than not they make some mistakes or stick to the most generic, tried-and-true tactics. Nowadays, Hollywood marketing has relapsed into following some of the most boring, never-take-a-single-risk, follow-every-old-rule strategies. There used to be a time when marketing ideas would be so smart and fresh they’d influence pop culture and establish trends that others would follow, however nowadays they’re all controlled by existing trends and pop culture and mindlessly follow the latest fads like lemmings. Which is why I’m not surprised that GKids, the US distributor of Hayao Miyazaki’s The Boy and the Heron, decided to throw out the original Studio Ghibli no-marketing tactic and go with a conventional campaign. Perhaps they had no choice? Of course they had a choice. It seems they got cold feet, and decided they had to go back to old ways.

About a month or two before the movie’s initial Japanese opening on July 14th, 2023, reports from Japan quoted Studio Ghibli producer Toshio Suzuki saying they would release the film without any marketing material or plot synopsis or any images or anything else. Everyone knew about the movie anyway. “Over the years, we’ve done various things to get audiences to come see our films,” Suzuki told Bungei Shunju. “But I thought, ‘That’s enough of that.‘ It’s no fun doing the same thing over and over.” On the same day as the Japanese release in July, GKids in America (who has handled many Studio Ghibli & anime films) announced they will be releasing this movie in the US. Their initial press release included this fairly vibrant statement:

GKids states: “In an unprecedented decision by Studio Ghibli, no images, trailers, synopses, advertisements, or other information about the film have been made available to the public prior to its release in theaters in Japan. In keeping with this policy, GKIDS will not release any further details or marketing materials at this time.“

Something happened between this announcement in July and the movie being selected to premiere at TIFF in September. For months there were rumors and speculation that How Do You Live? (what it was known by at the time) was going to premiere at Cannes or at Venice. It wasn’t ready for Cannes because, true to their word, Ghibli wanted the Japanese to experience the film first before any international audiences at festivals. After the Japanese release in July, then came more questions – will it be released internationally by the end of 2023 and by whom? When exactly? How long do the rest of us have to wait? Will it show up at film fests? Which ones? It’s showing at tons of other festivals this fall – after TIFF, it’s screening at San Sebastian, New York, Sitges, London, Chicago, Lyon; with release dates around the world set throughout the fall. Of course, the festivals MUST always have at least ONE photo for a film for its premiere. This is standard practice. But a few days before the TIFF premiere, GKids dropped a teaser featuring around 60 seconds of actual footage. No longer a surprise… It’s the same standard marketing tactic as most festival films that have a distributor.

While reading other articles about the Studio Ghibli marketing decision for The Boy and the Heron, I came across one that couldn’t understand the original Japanese strategy, claiming that “no one would even know about the film?! How would they know it exists?!” 🤦 🤦 Goodness. This is a blatant misunderstanding of marketing and how the world works, how people communicate with each other. Miyazaki’s film is a unique case. Of course it doesn’t make sense to try and open an indie film that no one has heard about without any marketing. But Hayao Miyazaki is a cinema legend! Yes, it’s true, he’s known around the world and beloved around the world. It’s also a complete misunderstanding to claim only Japanese people are familiar with his name and could be excited about a film just because he made one. Especially after Miyazaki announced he was “retiring” after The Wind Rises in 2013, followed by Studio Ghibli (historically one of the finest movie studios to ever exist) announcing they were also shutting down / no longer making anything new. The fact both came back and went into production in 2018 on a new Miyazaki film already put this on most people’s radar. Everyone knows it’s coming, they’re just waiting to see it. Which is why this innovative tactic worked.

Many movie fans are tired of trailers that show too much, and marketing overload that leads to exhaustion before a movie even arrives in theaters. This is all too common to encounter these days… Despite entirely bogus Hollywood marketing research claiming that “most” people are only interested in watching a movie (that isn’t some major franchise/IP they’re already familiar with) if they show them most of the movie in the trailer to hook them. I’ve never met or talked with a single person who agrees with that. Most cinephiles are tired of trailers like this. Even casual moviegoers will say, oh now they don’t need to waste their time/money watching a movie because most of it was shown in the trailer already. Why does Hollywood ignore all these voices and instead rely on some random market research they wasted money on? This is a common mistake within the Hollywood marketing system. Thankfully, Ghibli picked up on this vibe with audiences in 2023. Explaining why they made this no-marketing decision for the release, this is the quote that Suzuki provided:

“So, no trailers or TV commercials at all. No newspaper ads either. Deep down, I think this is what moviegoers latently desire. In my opinion, in this age of so much information, the lack of information is entertainment. I don’t know if this will work. But as for me, I believe in it, so this is what I’m trying to do.” –Toshio Suzuki

He’s right. Most importantly, it did work. Miyazaki’s highly anticipated new movie opened at #1 at the Japanese box office. I will let Wikipedia report the facts: “In Japan, The Boy and the Heron grossed $13.2 million (1.83 billion yen) in its opening weekend, becoming the biggest opening in Studio Ghibli’s history and surpassing Howl’s Moving Castle’s 1.48 billion yen debut in 2004. The film earned $1.7 million from 44 IMAX screens, setting a new 3-day record. It attracted 1.35 million viewers and exceeded 2.14 billion yen ($15.2 million) in box office revenue in its first four days.” It stayed in the #2 spot at the box office in Japan throughout all of August, only dropping to #4 after it had played for 7 weeks. That’s quite an achievement for a movie that had no marketing. Which is the point. It wasn’t their goal to maximize revenue, it was their goal to release a new Miyazaki movie and let fans experience it fresh, without anything guiding them before they go in to watch. This is an exciting experience. (It’s what I love about watching films at festivals, too.) Hollywood could & should learn from this, and I thought GKids would follow suit. Though apparently not… I guess fear took over and led them back to the safe comfort of their old tactics, which I think is depressing.

This is when someone usually exclaims, “well, Alex, that would never work outside of Japan! It only worked there because they know Miyazaki and Ghibli and love them already.” Yeah, not true. Not at all. Miyazaki is absolutely adored worldwide just as much as he is in Japan. No question about it. Ever since the WGA and SAG-AFTRA strikes took over Hollywood earlier in 2023, I’ve been lamenting how Hollywood has generally refused to try different marketing. They’re stuck on this archaic notion that actors doing interviews is the only real way to market a movie (or at least turn it into a box office hit). I was hoping some studios would try something new, try some clever ideas that might still get moviegoers’ attention. Every movie is different, and some require different campaigns, but Suzuki is right: “in this age of so much information, the lack of information is entertainment.” Even if it didn’t turn out to be a good movie in the end, the bold marketing tactic of releasing a surprise trailer for The Cloverfield Paradox during the Super Bowl (in 2018) at the same moment the movie is available on Netflix worked well (“According to Nielsen, nearly 785,000 viewers watched on the night of Super Bowl LII; by three days, over 2.8 million watched, 5 million after a week.”)

Why is Hollywood so afraid of doing anything different with marketing? Where have all the bold marketers gone? Why is doing something unique and innovative so scary nowadays? Especially if it has a proven track record of working. And why is GKids going against their own claim that they will follow what Studio Ghibli did and not release any info or marketing material? Maybe they were pushed by the festivals and by other distributors trying to release it worldwide. Maybe they got afraid that “no one would know about it” without marketing (which, for the record, is complete & utter nonsense, especially with these festival premieres). Whatever the case, I’m disappointed to see them give in and go back to the usual ways. Indiewire posted an article with the headline “The Boy and the Heron Is Studio Ghibli and GKIDS’ Biggest Marketing Challenge Yet” featuring quotes from GKids’ president of distribution, Dave Jesteadt, who claims “he’s not worried about the economics of the film and is confident audiences will show up.” The rest of his quotes sound like a stodgy old professor reading from his dusty textbook in Marketing 101 class at university, while students are trying to jump in with “but” & “well”, he just waves them off with his hand and points to the book. “This is the way, and we will never try anything different.” At least that’s what it sounds like from his quotes there…

I’m just tired of Hollywood never, ever having the courage to try something different, to do something new, to take a risk, and to let it pay off in the long run. There’s a simple strategy they could’ve followed – release nothing but one or two images during the festival run, create one new poster for the US release, let it open first in early December as they have it scheduled already. THEN release a trailer, THEN kick in marketing, THEN let the movie build to become a hit through December and January. This is even the perfect time to use that post-release buzz to get young generations who are not as familiar with Studio Ghibli to watch more of their films. They’ve already done this for years with Ghibli Fest re-runs. This is where real innovation in Hollywood marketing can come from – making bold choices. But I guess 2023 is not the year they want to try anything new. Suzuki’s quotes are still the best. He knows moviegoers want to watch good movies: “They’ll want to see for themselves what the film is about. And to do that, they’ll have to go to a theater.” Yep.

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Making Sense of Life – On the Philosophy of ‘Barbie’ & ‘Oppenheimer’ | FirstShowing.net

Post By Entertainment barbie, christopher nolan, cinema, discuss, editorial, existentialism, feat, greta gerwig, Oppenheimer, philosophy

Making Sense of Life – On the Philosophy of ‘Barbie’ & ‘Oppenheimer’

by Alex Billington
July 24, 2023

“The real voyage of discovery consists not in seeking new lands but seeing with new eyes.” –Proust. Two of the best movies of 2023 are now playing in theaters worldwide: Christopher Nolan’s Oppenheimer and Greta Gerwig’s Barbie. Yep – they’re both outstanding movies deserving of all the praise, both ambitious and unique and creative, both made by exceptionally talented filmmakers who understand the terrific power of visual storytelling. They may differ in many ways, especially in tone, but they’re actually quite similar in many other ways. I am in awe and delighted that we have two of the most philosophical movies I’ve seen in years, both big budget studio projects, both intellectually stimulating, showing on big screens and drawing big crowds. This is an invigorating moment for cinema that we should relish. What I appreciate the most is how much each film relies on intellectual storytelling, with no desire to pander to audiences or be accessible to everyone. There is so much to discuss about each, and I want to dig into the philosophy present in both films. To borrow a quote on Twitter: “It’s not Barbie and Oppenheimer. It’s Barbie, and it’s Oppenheimer.”

I’m elated these films are damn good and especially so smart. I’ve watched both Barbie and Oppenheimer twice already; the second viewing is so much more fascinating, as I can observe in closer detail everything these filmmakers are doing and how this works wonderfully in the movie. Intellectual filmmaking is rather uncommon these days and yet we have two big movies pushing boundaries again. Nolan’s Oppenheimer isn’t just a story about the man who led the team that created the atomic bomb, it’s about the moral implications and existential struggles that come with that. It’s about how hard it is to handle the guilt and sadness that comes with knowing your creation killed so many people, then lead into a world perpetually fearful of death. Gerwig’s Barbie, on the other hand, also deals with existential worries. What happens when you go out into the “real world” and learn that who you are, and the world you come from, are not actually representative of the real world. It was just a utopian fantasy, and the real world is much more sexist and greedy and careless. Both films ask similar profound philosophical questions: what does it mean to be you, how do you make sense of your life, specifically in relation to how your life has impacted the world – in both good & bad ways.

Watching Oppenheimer is like watching a horror movie (though critics are arguing about whether it’s horror or something else) – at some point we realize this well-respected, optimistic scientist is going to encounter some of the darkest darkness ever when confronted with the horror of what he built – even with the context of stopping the other great darkness threatening the world at the time. There are scenes in the second half that play like a psychological thriller, with visions of the dead appearing, the room shaking violently, bright light taking over. Nolan has artfully visualized this remarkably hard-to-describe feeling of dread and guilt and death. Oppenheimer is a biopic, it’s not about what the bomb did, because he wants to tell the story of this man and put us in his shoes. There are questions posed about whether he’s really a bad guy, because all he wanted to do was save the world. There’s also questions about – once you’ve created this deadly gadget, what next. How do you respond, how do you handle it, how do you move on, how do you even live? Everyone knows Oppenheimer’s famous quotes borrowed from the Bhagavad Gita, and the film shows us that he dealt with frighteningly existential dilemmas: is he death? Is he now the destroyer of worlds? What has he done?

One of the best analysis I’ve read is an examination of ending of Oppenheimer written by my colleague Bilge Ebiri for Vulture. In his analysis, he connects the opening shots and ending shots of the film and goes on to explain how it is a clever visual metaphor for Oppie’s obsession with a scientific understanding of the world. Ebiri points out how the ripples that he sees in the pond mirror the circles being drawn on maps at the end of the film, measuring the size of nuclear explosions atop cities in Russia (and elsewhere). The film’s editor, Jennifer Lame, explains: “Science to him is beauty and art and poetry. It just makes the movie so much more devastating at the end.” After going on this three hours journey with Oppie, he realizes his fascination with science and knowledge about the universe we all exist in has crossed over into the “real world” with devastating consequences. Perhaps he doesn’t realize it yet, at that point, but humanity is forever changed. He is responsible, in theory, but we can’t blame him (alone) nor can we blame his fascination with science. There are, of course, other conversations on the inevitability of atomic weapons – if it wasn’t Oppenheimer, someone else would’ve figured out how to use fission for a bomb. His article ends with a potent realization:

“Nolan’s closing images do serve as a warning and a portent of doom, and they are enormously moving as such. But they’re also one final glimpse into this character, revealing that in his mind at least, he has destroyed the world: He has destroyed his world, his very conception of reality. Where once he saw the astonishing connections that lay at the heart of all matter and even human relations, now he sees only horror and fire, of the destructive power that lies beneath the shape of all things.” Via Vulture

It’s an intricately complex film that asks – is one man truly, solely responsible for what he makes if others misuse our creations in nefarious ways, especially when it is simply unlocking the scientific secrets of our universe? Oppenheimer hits hard with this profound, overwhelming realization. It’s a grand examination of a life – that’s also an examination of humanity, of our real world, of men and war and the power they crave.

Barbie actually digs much deeper into the philosophy of meaning and existence than Oppenheimer (strange, but true). It borrows from the Pinocchio story of a perfect, plastic woman who enters the real world and discovers what it means to be a “real” woman. Not just a perfect Barbie. One of the most beautiful scenes is when she first has a moment to herself in the real world: she’s sitting on the bench and suddenly breathes and takes in the world around her. She looks at the trees and sky, and notices both happiness and sadness, and the anger and depression and joy all around her. She sees kids playing, a couple arguing, happy and sad people and realizes this is the grand, magical complexity of life. It is everything all at once. It’s a visceral and visually stunning moment of existential clarity. Later on she literally meets her creator, and must confront the very idea of what it means to be Barbie and if she is free to be herself and live in this “real world” in the way she wants to live. She doesn’t even know what that is exactly, she’s on the road to figuring that out. All of this is played against the eye-opening, Plato’s cave experience of stepping out of Barbie Land for the first time and realizing the world isn’t this idealistic, glossy, pink reality. This is as close as movie can get to The Matrix narrative of “free your mind” and, as she does, escape into the real world for a “voyage of discovery”.

They even mention Proust Barbie at one point. (And there’s talk of philosophy books on Oppie’s shelves in one scene as well.) Barbie’s ultimate thesis is this question of who she is, how does she navigate and exist in the world, how her experiences and her understanding of the world changes who she is as a person. Ruth Handler, the original Mattel creator of the Barbie Doll, explains to her that the idea of Barbie is also more important that the actual perfect definition of or image of Barbie, that is what truly matters. It’s almost a direct reference to V for Vendetta, and V’s empowering speech that “beneath this mask there is an idea, Mr. Creedy, and ideas are bulletproof” – ideas can go beyond a person, ideas live beyond an individual person, or an individual Barbie. This is something profound she must contend with as well… Has the “idea” of Barbie she embodies become toxic, more harmful to the world than helpful? How can she free herself from that, confront the patriarchy, and re-establish an idea that truly represents how empowering she feels. It’s weird that an expensive Barbie movie made by Mattel dares to dip into this kind of philosophical discussion, but that’s part of the genius of this movie. It’s what makes these two Hollywood movies invigorating, so exciting, because they both dare to be intellectually provocative when so few contemporary Hollywood movies are…

It’s no coincidence that both films feature their main characters having mental breakdowns, trying to figure out who they are and what their place is in a world. The parallels are fascinating, in that they’re so different yet so similar in their exploration of existence and meaning and how one person (or even one idea) can have have a great impact on humanity and on our “real world”. Did Barbie change the world for the worse? Is she actually a harmful representation of toxic feminism? Did Oppenheimer change for the world for the worse? Is he actually a harmful representation of dangerous science? Thankfully both filmmakers are talented and intelligent enough to not provide one clear, definitive answer to these kind of questions – both movies are an exploration of ideas; conversation-starters, thought-provoking works of art. Barbie, even though it is pink and glossy and bright and fun, is also examining the same darker sides of the world as Oppenheimer. “Is one woman truly, solely responsible for what she [causes] if others misuse our creations in nefarious ways…?” Funny enough, referencing what I wrote earlier about Oppenheimer, Barbie is also “a grand examination of a life – that’s also an examination of humanity, of our real world, of men and war and the power they crave.”

As a lover of philosophy, of big ideas and big thinking, and of cinema that can make wonder about all these big ideas, I am delighted that these two movies are so profound and stirring and successful. The cliche idea of what “going to the movies” means has been getting louder & louder in these past few years: “shut off your brain and just enjoy it,” they love to say. However, real cinema, real intelligent storytelling, is about turning on your brain. It has the power to make you think, even make you re-examine your life, your choices, your identity. And maybe, just maybe, it may make you question who you are. Once again, there’s a perfect Proust quote for this: “If a little dreaming is dangerous, the cure for it is not to dream less, but to dream more, to dream all the time.” A rejuvenating reminder that movies can do this. One of my favorite lines in Barbie is near the end when she’s talking with Ruth. She explains, maybe the things that you think make you you, are not actually the things that make you you. We all need to stop & think about this, process this conundrum, to truly understand ourselves and understand what makes us us, what defines humanity. We need to decide whether we truly want to make the world a better place, or if we all just want more power and/or perfection.

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95th Academy Awards Nominations Announced – Full List for 2022

Post By Entertainment academy awards, awards, brendan fraser, discuss, eeaao, movie news, nominations, oscar nominees, Oscars, RRR, the academy, top gun

95th Academy Awards Nominations Announced – Full List for 2022

by Alex Billington
January 24, 2023
Source: Oscars.org

The complete list of nominees for the 95th Academy Awards, the most prestigious award in Hollywood, have been announced today (from Oscars.org). The Academy of Motion Picture Arts and Sciences revealed the nominees via live broadcast. The nominations from 2022 are, as usual, an exciting and wonderful and curious set of nominees with plenty of surprises and expected picks – including The Sea Beast sneaking in, RRR only getting in for Best Song, Andrea Riseborough from To Leslie somehow pulling off a nod, and The Banshees of Inisherin getting tons of love. Best of all, my #1 of 2022 – Everything Everywhere All at Once – landed 11 nominations in total, a clear sign it’s loved by everyone. The Academy chose a total of ten Best Picture nominees from 2022, also including: Top Gun: Maverick, All Quiet on the Western Front, Elvis, The Fabelmans, Women Talking, Triangle of Sadness. Without further ado, view the full list of nominees below.

The 95th Academy Awards ceremony will be on Sunday, March 12th at the Dolby Theatre in Hollywood – broadcast live by ABC. This year’s ceremony will be hosted by Jimmy Kimmel. Here are 2022’s nominations:

PICTURE:
All Quiet on the Western Front
Avatar: The Way of Water
The Banshees of Inisherin
Elvis
Everything Everywhere All at Once
The Fabelmans
Tar
Top Gun: Maverick
Triangle of Sadness
Women Talking

DIRECTOR:
Martin McDonagh – The Banshees of Inisherin
Daniel Kwan & Daniel Scheinert – Everything Everywhere All at Once
Steven Spielberg – The Fabelmans
Todd Field – Tar
Ruben Östlund – Triangle of Sadness

ACTOR:
Austin Butler – Elvis
Colin Farrell – The Banshees of Inisherin
Brendan Fraser – The Whale
Paul Mescal – Aftersun
Bill Nighy – Living

ACTRESS:
Cate Blanchett – Tar
Ana de Armas – Blonde
Andrea Riseborough – To Leslie
Michelle Williams – The Fabelmans
Michelle Yeoh – Everything Everywhere All at Once

SUPPORTING ACTOR:
Brendan Gleason – The Banshees of Inisherin
Brian Tyree Henry – Causeway
Judd Hirsch – The Fabelmans
Barry Keoghan – The Banshees of Inisherin
Ke Huy Quan – Everything Everywhere All at Once

SUPPORTING ACTRESS:
Angela Bassett – Black Panther: Wakanda Forever
Hong Chau – The Whale
Kerry Condon – The Banshees of Inisherin
Jamie Lee Curtis – Everything Everywhere All at Once
Stephanie Hsu – Everything Everywhere All at Once

ORIGINAL SCREENPLAY:
The Banshees of Inisherin – Martin McDonagh
Everything Everywhere All at Once – Daniel Kwan & Daniel Scheinert
The Fabelmans – Steven Spielberg & Tony Kushner
Tar – Todd Field
Triangle of Sadness – Ruben Östlund

ADAPTED SCREENPLAY:
All Quiet on the Western Front – Edward Berger, Lesley Paterson & Ian Stokell
Glass Onion: A Knives Out Mystery – Rian Johnson
Living – Kazuo Ishiguro
Top Gun: Maverick – Ehren Kruger and Eric Warren Singer and Christopher McQuarrie
Women Talking – Sarah Polley

ANIMATED FEATURE:
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Puss in Boots
The Sea Beast
Turning Red

INTERNATIONAL FEATURE:
All Quiet on the Western Front (Germany)
Argentina, 1985 (Argentina)
Close (Belgium)
EO (Poland)
The Quiet Girl (Ireland)

CINEMATOGRAPHY:
All Quiet on the Western Front – James Friend
Bardo – Darius Khondji
Elvis – Mandy Walker
Empire of Light – Roger Deakins
Tar – Florian Hoffmeister

DOCUMENTARY FEATURE:
All That Breathes
All the Beauty and the Bloodshed
Fire of Love
A House Made of Splinters
Navalny

DOCUMENTARY SHORT:
The Elephant Whisperers – Kartiki Gonsalves and Guneet Monga
Haulout – Evgenia Arbugaeva and Maxim Arbugaev
How Do You Measure a Year? – Jay Rosenblatt
The Martha Mitchell Effect – Anne Alvergue and Beth Levison
Stranger at the Gate – Joshua Seftel and Conall Jones

ANIMATED SHORT:
The Boy, the Mole, the Fox and the Horse – Charlie Mackesy and Matthew Freud
The Flying Sailor – Amanda Forbis and Wendy Tilby
Ice Merchants – João Gonzalez and Bruno Caetano
My Year of Dicks – Sara Gunnarsdóttir and Pamela Ribon
An Ostrich Told Me the World Is Fake and I Think I Believe It – Lachlan Pendragon

LIVE-ACTION SHORT:
An Irish Goodbye – Tom Berkeley and Ross White
Ivalu – Anders Walter and Rebecca Pruzan
Le Pupille – Alice Rohrwacher and Alfonso Cuarón
Night Ride – Eirik Tveiten and Gaute Lid Larssen
The Red Suitcase – Cyrus Neshvad

VISUAL EFFECTS:
All Quiet on the Western Front
Avatar: The Way of Water
The Batman
Black Panther: Wakanda Forever
Top Gun: Maverick

PRODUCTION DESIGN:
Dune – PD: Patrice Vermette; Set: Zsuzsanna Sipos
All Quiet on the Western Front – PD: Christian M. Goldbeck; Set: Ernestine Hipper
Avatar: The Way of Water – PD: Dylan Cole & Ben Procter; Set: Vanessa Cole
Babylon – PD: Florencia Martin; Set: Anthony Carlino
Elvis – PD: Catherine Martin & Karen Murphy; Set: Bev Dunn
The Fabelmans – PD: Rick Carter; Set: Karen O’Hara

COSTUME DESIGN:
Babylon – Mary Zophres
Black Panther: Wakanda Forever – Ruth Carter
Elvis – Catherine Martin
Everything Everywhere All at Once – Shirley Kurata
Mrs. Harris Goes to Paris – Jenny Beavan

MAKE-UP & HAIR:
All Quiet on the Western Front – Heike Merker & Linda Eisenhamerová
The Batman – Naomi Donne, Mike Marino, Mike Fontaine
Black Panther: Wakanda Forever – Camille Friend & Joel Harlow
Elvis – Mark Coulier, Jason Baird, Aldo Signoretti
The Whale – Adrien Morot, Judy Chin, Anne Marie Bradley

FILM EDITING:
The Banshees of Inisherin – Mikkel E.G. Nielsen
Elvis – Matt Villa & Jonathan Redmond
Everything Everywhere All at Once – Paul Rogers
Tar – Monika Willi
Top Gun: Maverick – Eddie Hamilton

SOUND:
All Quiet on the Western Front
Avatar: The Way of Water
The Batman
Elvis
Top Gun: Maverick

ORIGINAL SCORE:
All Quiet on the Western Front – Volker Bertelmann
Babylon – Justin Hurwitz
The Banshees of Inisherin – Carter Burwell
Everything Everywhere All at Once – Son Lux
The Fabelmans – John Williams

ORIGINAL SONG:
“Applause” from Tell It Like a Woman
“Hold My Hand” from Top Gun: Maverick
“Lift Me Up” from Black Panther: Wakanda Forever
“Naatu Naatu” from RRR
“This Is A Life” from Everything Everywhere All at Once

Congratulations to all of this year’s nominees. I’m happy about most of these selections, especially EEAAO and Tar and Close and Brendan Fraser (yes, I’m a fan). I’m most upset about Moonage Daydream being left out of Best Documentary. How did they miss that?! And I also do think S.S. Rajamouli’s RRR should’ve earned a few more mentions, but apparently India didn’t even submit it for Best International Film anyway. The surprise celebrity campaign for Andrea Riseborough worked, but does she really deserve it this time? Especially over other incredible performances like Danielle Deadwyler in Till? I’m considerably surprised that All Quiet on the Western Front end up with so many noms, especially as a Netflix movie. It’s good, but good enough for 9 nominations? I guess so. Above all else, I want Ke Huy Quan to win his Oscar – he also deserves it for his EEAAO performance. In cinematography, I’d swap out Empire of Light for anything else. Yeah I know it’s Deakins, but it’s not a good film, and he has tons of noms already anyway. I am sure there will be tons of complaints about everything, as is the norm. What do you think of the nominations for 2022?

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