Posted in Article

Markus’ Oscar Predictions

The Oscars are upon us! Aren’t you excited? No? Still worried about the potential beginning of WW3? Fair enough. But why not take a break from that, and fill out an Oscar ballot with me.

For this article I will run down my picks for who I think will win along with who I would love to see win an Oscar for each of the 23 categories. And unlike the Oscars, I will be telling you the winners of every category, live, as you read this. And yes, I will go over my three-hour runtime.

Let me explain that last joke. The following categories will not be shown live during the Oscars telecast this year: Documentary short, film editing, makeup and hairstyling, original score, production design, animated short, live action short and sound.

OK, so admittedly this is not the best thing I’ve ever written, but…

Let’s begin!

BEST PICTURE:

What I want to win: “West Side Story”. I get it. You didn’t watch it. But trust me, it’s really good. And the funny thing is, it won’t win even though this “Steven Spielberg cut” is actually better than the original 1961 film which won Best Picture. Hmmmm…

What I think is going to win: “The Power of the Dog”. A lot of front-runners on this list seems to have lost momentum throughout these past few months, such as “Licorice Pizza” and “Belfast”. And “The Power of the Dog” is a movie which has already picked up a few of the bigger awards this season (Best Picture at the Critics’ Choice Awards and the Golden Globes) for reasons I’ll never understand. Sorry if I sound snarky, but I’ve seen this movie twice and it really didn’t meander any less the second time around. The acting is great, yeah, but to be honest I’ll be mad if it wins.

You know what? I’m changing my mind. Yeah, I can do that. I think “CODA” is going to win. It’s a solid heartwarming film for the whole family and it’s not “The Power of the Dog”.

ACTOR IN A LEADING ROLE:

Who I Want to Win: Anybody but Javier Bardem for “Being the Ricardos”. I’m so mean. But seriously, literally anybody else in this category (Benedict Cumberbatch, Andrew Garfield, Will Smith, Denzel Washington) deserves to be recognized for their spectacular performances. But Bardem as Desi Arnaz, that’s not it.  

Who I think will win: Will Smith for “King Richard”. Proving yet again why he is such a powerhouse actor; Smith has been cleaning up this awards season and rightfully so.

ACTOR IN A SUPPORTING ROLE:

Who I want to win: Troy Kotsur for “CODA”. Kotsur, who has also been sweeping up this awards season, really delivers in his role as a deaf parent. Not only that, but his award worthy performance is yet another statement on how far Hollywood still needs to come in terms of inclusivity.  

Who I think will win: Troy Kotsur: See explanation above.

ACTRESS IN A LEADING ROLE:

Who I want to win: Kristen Stewart for “Spencer”. Though I still feel that this is a two-person race between Stewart and Jessica Chastain for “The Eyes of Tammy Faye”, I believe Stewart holds the better performance. Also, after seeing a lot of her more recent independent work, wouldn’t it be great to see her receive an Oscar?

Who I think will win: Kristen Stewart for “Spencer”.  What makes this category so hard to predict is how Stewart was a lot of people’s picks to sweep this category for awards season back when “Spencer” was released. But it seems she’s lost a lot of momentum, as she’s continued to lose out to Chastain, as well as having not even been nominated for a SAG or a BFTA award.

ACTRESS IN A SUPPORTING ROLE:

Who I want to win: Ariana DeBose for “West Side Story”. My love for “West Side Story” doesn’t end with Spielberg. She sings, she dances, DeBose gives one of the best performances of any actor in 2021.  That said, I’d also love to see Aunjanue Ellis win for “King Richard”. She gives an understated performance that will likely be acknowledged when Will Smith makes his acceptance speech.

Who will win: Ariana DeBose for “West Side Story”: She’s won every supporting role award this season. Did I mention she sings and dances?

ANIMATED FEATURE FILM:

What I Want to Win: “Luca”. So many outstanding films in this category, but “Luca” was one of my favorite films of the year and one of the most important with the portrayal of homosexual central characters; I don’t care how hard Disney tries to deny it. Also, quick shout out for “Flee”, a movie that will have no chance to win in any of the categories it’s nominated in, but is an award worthy contender in every one.

What will win: “Encanto” because all of your kids and the voter’s kids have seen it and can sing every song.

CINEMATOGRAPHY:

Who I want to win: Greig Fraser for “Dune” is my runaway pick to win. That said, this is one of the only categories where I wouldn’t be upset if “The Power of the Dog” won. Ari Wegner is a talented cinematographer who makes tepid films watchable.

Who will win: Greig Fraser for “Dune” because, have you seen “Dune”?!

COSTUME DESIGN:

Who I want to win: Paul Tazewell for “West Side Story” is my pick. My proof being every dress in this movie.

Who will win: Jenny Beavan for “Cruella”. Disney’s “Cruella” is a film about fashion designers. Game over. Admittedly Beavan is a super accomplished costume designer with eleven Oscar nominations to her name. And what she does with the costumes here are pretty creative. In fact, the costume aspect of this film was such a standout in what I found to be a simply above average film, that a win here will be an opportunity to recognize “Cruella” for something it actually got right.   

DIRECTING:

Who I want to win: Steven Spielberg for “West Side Story”, because (as I stated earlier) he is a huge reason as to why this film is better than an original, which is arguably the greatest theatrical musical of all time.

Who will win: *SIGH* Jane Campion for “The Power of the Dog”. Not, to say that she isn’t deserving for the look of this film (I would give more love to the cinematographer than Campion herself). But the fact that the film is almost intentionally dull for the majority of its runtime, has to fall on her. This is just my opinion of course. And I’m in the minority, as many critics and audiences alike loved this “slow burn” of a western. Also, I personally don’t care to hear more Campion acceptance speeches. But again, maybe that’s just me.  

DOCUMENTARY (FEATURE):

Who I want to win: “Summer of Soul (…or, When the Revolution Could Not be Televised)”. While every film nominated in this particular category should be sought out, I really want to see Questlove’s documentary debut “Summer of Soul” take this one home. Also, as much as I love the fact that “Flee” again pops up in this category, “Summer of Soul” and the story behind how it was filmed, put together and why footage from this Black Woodstock (The Harlem Cultural Festival) is only being seen today, is a historical achievement.

Who will win: Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein for  “Summer of Soul (or, When the Revolution Could Not Be Televised)”, for all of the reasons I stated above, and also It’s another film that has been sweeping it’s category this awards season.   

DOCUMENTARY (SHORT SUBJECT):

Who I want to win: Pedro Kos and Jon Shenk for “Lead Me Home”. I may be biased because I am from an area where this was partially filmed, but I found this really moving and eye opening. It focuses on the unhoused community who live on the streets of San Francisco and Los Angeles, putting a face and a name and a story to these individuals who are suffering every day in our own backyards.

Who will win: Ben Proudfoot for “The Queen of Basketball” is the heavy favorite to take this category. An important and powerful story about the first and only woman to be drafted into the NBA. So, if this film wins, it will be well deserved.

FILM EDITING:

Who I want to win: Joe Walker for “Dune”. It’s one of the best put together films of the year. And for how much information needs to come across to audiences, Walker succeeds in making this very dense narrative feel like a well-paced sci-fi blockbuster.

Who will win: Joe Walker for “Dune”. I feel like it’s just extremely difficult to deny what “Dune” does in terms of its watchability.

INTERNATIONAL FEATURE FILM:

Who I want to win: “Flee”. I would love for this animated documentary about a gay man retelling his escape from mid-80’s Afghanistan as a young boy, take this award. “Flee” is a film I didn’t see until recently, but the subject of “Flee” is a voice that needs to be recognized on a larger stage. I just wish this was the stage.

Who will win: “Drive My Car”. Okay, so here is another critically acclaimed film that I just didn’t love. The dialogue is well written, but boy was this a slog to get through. And that’s shocking because I usually love three-hour films about depression, sorrow and loss.

MAKEUP AND HAIRSTYLING:

Who I want to win: Linda Dowds, Stephanie Ingram and Justin Raleigh for “The Eyes of Tammy Faye”. The first shot of the movie is a close up of Tammy Faye’s face. This sets the tone for the makeup and hairstyling for the rest of the film.

Who will win:  Linda Dowds, Stephanie Ingram and Justin Raleigh for “The Eyes of Tammy Faye”. Jessica Chastain’s eye makeup is good too.

MUSIC (ORIGINAL SCORE)

Who I want to win: Jonny Greenwood for “The Power of the Dog”. For the amount of shade I’ve thrown at “The Power of the Dog”, there is a lot it gets right. And Jonny Greenwood’s unsettling score is one of those things.

Who will win: Jonny Greenwood for “The Power of the Dog”. I feel that the acclaim for this film is already there and so this will assuredly be one of the most noncontroversial wins of the night.

MUSIC (ORIGINAL SONG):

What I want to win: “No Time To Die”, music and lyrics by Billie Eilish and Finneas O’Connell.

What will win: “No Time To Die”, music and lyrics by Billie Eilish and Finneas O’Connell.

OK, SO…here’s the thing. “We Don’t Talk About Bruno” from Encanto has become this smash hit that’s on the radio 24/7 and now we can’t stop (or refuse to stop) singing it. So, why is the one “Encanto” song nominated “Dos Oruguitas”? a song nobody cares about. This is baffling.  

PRODUCTION DESIGN:

What I want to win: “Dune”. Again, I believe “Dune” is just that visually stunning. While a close second would be a tie between “West Side Story” and “Nightmare Alley”, the team of Patrice Vermette and Zsuzsanna Sipos build this world that many filmmakers have attempted and failed. But they nailed it.

What will win: “Dune”. This is a clear opportunity to acknowledge the visual achievements of this film, although I don’t think this category is as “open and closed” as many may think it is. If the award does go to “West Side Story” or “Nightmare Alley”, I wouldn’t be at all shocked.

SHORT FILM (ANIMATED):

Shockingly, the most disturbing category of the Oscars. You heard me.

Who I want to win: I really really really really REALLY want to say Hugo Covarrubias and Tevo Diaz for “Bestia” (the animated film with bestiality), because it’s so twisted and so Lynchian and so “am I supposed to be seeing this?”. But my newly found tender heart will say Dan Ojari and Mikey Please will win for “Robin Robin”, the only child-friendly film of the bunch. Even though I believe its songs are really lackluster, “Robin Robin” is undeniably cute.

Who will win: Dan Ojari and Mikey Please for “Robin Robin”. It’s a stop motion animated film about a bird who is raised by mice and just wants to fit in. It’s undeniably adorable and the least offensive of the group. It’s also the least important in terms of the evolution of animation. Which means, it will definitely win.

SHORT FILM (LIVE ACTION):

Who I want to win: There was only one film (“On My Mind”) which I thought was underwhelming. The rest are so hard hitting and disturbing in most cases. My pick to win is Aneil Karia and Riz Ahmed for “The Long Goodbye”, even though the odds where high that I’d choose a film called “The Dress” because of my nihilist tendencies. With “The Long Goodbye” we are given a disturbing look at a violent and racially charged dystopia that may be closer than we want to believe.

Who will win: Aneil Karia and Riz Ahmed for “The Long Goodbye”. Although, this is yet another category where I wouldn’t be surprised if a few other films won. “Please Hold” is a form of sci-fi anti-capitalism comedy that we don’t see enough, done exceptionally well. But “The Long Goodbye” is a film I’ve been hearing awards talk about for nearly a year now, so in fact this may not be as close of a race as I’m trying to make it seem.

SOUND:

Who I want to win: Is it a negative that I think “Dune” should win every technical award? I don’t think it is. Denise Yarde, Simon Chase, James Mather and Niv Adiri for “Dune”.

Who will win: Denise Yarde, Simon Chase, James Mather and Niv Adiri for “Dune”. As, much as I want to pick “West Side Story” because of how good this musical sounds, “Dune” is the clear winner here. Unless the Academy voters wants to mix things up, “Dune” will win.

VISUAL EFFECTS:

OK, so this is a tough one, only because any of the films nominated could and should win this category.

Who I want to win: Am I going to really say “Dune” again? Yeah. I am. Paul Lambert, Tristan Myles, Brian Conner and Gerd Nefzer for “Dune”.

Who will win: Anybody could take this, but actually I feel that the 007 franchise is so beloved by the industry, that Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould are likely to pick this one up for “No Time To Die”.

WRITING (ADAPTED SCREENPLAY):

Who I want to win: Ryusuke Hamaguchi and Takamasa Oe for “Drive My Car”. Just kidding. It’s still boring. The script was admittedly very well written, but I’d love to see Maggie Gyllenhaal’s script for “The Lost Daughter” win. It was personally my favorite script nominated of 2021.  

Who will win: I feel this will be a strong night for Jane Campion and “The Power of the Dog”. I’ve heard that “CODA” is the front-runner in this category, but I feel strongly that “The Power of the Dog” could take another “W” at an awards show like the Oscars.  Although, “The Lost Daughter” has a good chance as well.      

WRITING (ORIGINAL SCREENPLAY):

Who I want to win: Adam Mckay for “Don’t Look Up”. I continue to champion all aspects of this satire, especially the script. Allegorical, hilarious and timely, this screenplay is my favorite McKay piece of writing.

Who will win: Paul Thomas Anderson for “Licorice Pizza” will be thrown a bone here. This category is clearly a two-way race between two films that seem to have lost a lot of momentum this awards season. In reality, Kenneth Branagh’s script for “Belfast” could take the Oscar as well. “Licorice Pizza” recently won Best Original Screenplay at the BAFTA’s and “Belfast” won in the same category at the Critics’ Choice Awards. This is a completely 50/50 category. A race to see what movie isn’t totally humiliated after so much initial buzz.

So, there you have it. My picks. As always, this does not constitute legal advice and if you want to see more of my work follow me on Twitter @moviesmarkus and on Instagram @moviesmarkus1

Posted in Movie List

My Top Ten Films of 2021

I hate long intros, so let’s get right into this list. In a year packed with more film excellence than 2020 (for obvious reasons) the following are what I’d say were the ten best films of 2021.

10. Don’t Look Up:

A movie that warmed my anti-capitalist heart, “Don’t Look Up” reaffirms that nobody in power cares about you, social media is a distraction, and we are stuck in a patriarchal society that hates women and wouldn’t believe them even if a female scientist had evidence of a comet hurdling towards earth to kill us all. Moral of the story…welcome to earth (specifically the United States). 

In what is an allegory for the climate crisis, this story sees a scientist (Jennifer Lawrence) discover that a comet is going to hit the earth in six months and fourteen days. This will be an apocalyptic level event. She and a colleague (played by Leonardo DiCaprio) alert the proper authorities and even the President, but nobody seems to take the scientists seriously until the comet suddenly becomes a capitalistic opportunity. This is a comedy.

Writer/director Adam McKay absolutely hits the mark here, creating a giant timely reference. In his “fictionalized” version of the United States billionaires run the world, the main stream media only cares about headlines and so do influencers and so does the President. And also, dumb people hate science. This is the most Terry Gilliam film I’ve seen in a while, with a sprinkle of Coen brothers realness.

9. CODA:

This may be the strangest film on my list, not for any other reason than its damn formulaic and damn uplifting. I’m usually very much into downer films.

“CODA” stands for “Child of Deaf Adults”. It follows a high schooler named Ruby who is the only person in her family who isn’t deaf. One day she decides to join a music class, as she is a very talented singer but doesn’t seem to realize it yet. An eccentric teacher sees potential in her and spends the movie trying to challenge her to go off to music school. But as the only non-deaf person in her family, she feels that her destiny is to stay and take care of her parents. F-O-R-M-U-L-A-I-C! That said, the formula works quite well.  Very Disney in tone, with every loose end tied up by the end, “CODA” is undeniably heartfelt, funny and contains real gravity and stakes.

The characters are all likeable and we root for them the entire time. The acting is quite effective (the mother is played by Marlee Matlin) and the director does a great job of spotlighting deaf dialogues, with scenes of real deaf actors communicating for entire scenes without vocal breaks; which sounds like an obvious move in a film with this subject matter, but it’s something that really isn’t seen in film today. Sure, there are plot holes. And yes, movies like this may not make a lot of people’s top ten, but it’s really not up for debate how well this gets you right in the feels and never let’s go.

8. Spencer:

“Spencer” portrays Princess Diana, trapped at the end of a loveless marriage, surrounded by the most powerful family in the world, hopelessly marching towards the gallows, accompanied by a Jonny Greenwood orchestral score which swings back and forth between avant-garde jazz and classical; a decision which wonderfully complements a woman who famously stood in between two worlds. Beginning with a screen text which reads “A fable from a true tragedy”, visionary director Pablo Larrain (Jackie) gives us a brief glimpse into the life of Diana, as she attempts to break free from a world that at first glance could be mistaken for a fairytale.  His vision gives us something different, more surreal and far less narrative driven. The camera floats alongside Diana as she ventures outside on her own, almost getting lost amongst the seemingly never-ending world around her. And inside the estate Larrain creates a very claustrophobic feel, as the walls of opulence close in on the princess; establishing this as a fully immersive Diana experience. But also layered, because as much of a movie about Diana as “Spencer” is, it very much attempts to be a film about women trapped under the weight of the patriarchy. For as we root for Diana’s rejection of this life, Larrain quietly but consistently reminds us all about how these fairytales tend to end. 

Also, Kristen Stewart plays Diana in the role that will win her an Academy Award, creating a character all her own, not so much doing an impression, but an interpretation, giving a very Meryl Streep level performance.  And so it goes, a Kristen Stewart movie has finally made it onto one of my top ten lists. I totally get it. I’m late getting on this bandwagon.  

7. Dune (part one):

Denis Villeneuve makes perfect sci-fi. I need this on a tee-shirt.

Writer/director Denis Villeneuve (Blade Runner 2024, Arrival) adapts Frank Herbert’s notoriously difficult to adapt “greatest science fiction novel of all time”. (Seriously, look up the history of attempts to adapt “Dune).

The film sees House Atreides gain power over the planet Arrakis aka Dune; a desert planet filled with many dangers, including massive Godzilla-sized worms (sandworms); calling them worms may be selling these visually grandiose creatures short. This planet is also the home to a native peoples called Fremen and a valuable mineral referred to as “spice”, which makes interstellar travel possible. The story soon finds Paul Atreides (the youngest member of this house) encountering conflict involving spice mining, double crossing, and the aforementioned big ass worms. But Paul is no ordinary duke. He may or may not be a messiah of sorts, whether he wants to be or not.      

As expected, there is a ton of exposition which I saw and accepted as necessary in order to adapt a book like “Dune”; even again when you take into account that it’s a two hour and thirty-five-minute “part one”. Villeneuve handles the pre-action stuff by acknowledging the extensive exposition and (with the help of cinematographer Greg Fraser) establishes his brand of spectacular visual effects from minute one. This along with Han Zimmer’s score, carry the first hour of this movie until everyone is up to speed.  While there are many reasons why this film works, it’s greatest achievement will not be the film’s adaptation integrity, but the fact that as a visual sci-fi experience it works for the masses. And with a world this complex, this is the best compliment I can give.  

6: Titane:

The hardest sell on this list. Even though “Titane” is an award-winning film, it’s not one for everyone and will definitely turn people off who aren’t into extreme visuals. Also, even though I saw this film months ago, I will admit that I still don’t fully understand everything the director was trying to say and am eager for a second viewing. So, why would a film that I’m not totally sure I understood, be on this list?

Allow me to explain: Written and directed by Jula Ducournau, this is a horror film which follows a woman who develops a sexual attraction to cars after a childhood car accident. This car accident has left her with a titanium plate in her head. As an adult she works as a dancer, dancing atop classic cars for men. She has become a celebrity to these men, who find her as irresistible as she finds them repulsive. One night, she kills an aggressive fan after he chases her to her car. After which, she has intercourse with a car. After that she goes on a killing spree. Mid-spree she discovers she is pregnant with what we can only assume is a car baby. As she attempts to evade the police, she hides disguising herself as the long-lost son of a local fire chief. And then things get weird.

How am I doing selling this movie?

On its face “Titane” can be shrugged off as a body horror, extreme cinema and nonsensical slasher. But like Ducournau’s previous picture “Raw” there is so much more going on with this movie than just surface and visuals (the visuals are beautifully shot by the way). At its core this movie challenges and addresses gender stereotypes, toxic masculinity, childhood trauma and transphobia in very profound ways.

It’s easy to say that this is simply a movie about a woman who kills. And I think that’s the point. This brilliantly chaotic piece of filmmaking seems to being saying that if all you see is the violence or the sex, and/or all you get out of this movie is “a woman dresses like a boy”, this may say something more negatively about you than you’d like to admit.

5. Shiva Baby:

An anxiety attack told in one hour and seventeen minutes, “Shiva Baby” is a dark comedy about a woman in her early twenties named Danielle who finds herself at a Jewish funeral with her overbearing parents, her ex-girlfriend and her “sugar daddy”, who turns out is married with an infant.

Written and directed by Emma Seligman, as much as “Shiva Baby” is a comedy of unfortunate events, it’s filmed at times like a zombie movie (frantic soundtrack and all) as Danielle, unable to leave this situation, is surrounded by a crowded room full of flippantly passive aggressive family conversation, random family friends touching her stomach and commenting on how she’s “too skinny” and the aforementioned crying infant.

The movie is sharp, hilarious and had me on the edge of my seat. It’s basically the party sequence from “The Graduate”, just cranked up to eleven.

4. Gunda:

The only documentary on my list and it’s the anti-meat one, shot in black and white. Sounds about right.

Directed by vegetarian Viktor Kosakovskiy and produced by vegan Joaquin Phoenix, “Gunda” is a nature documentary without narration and without any soundtrack (all sounds are diegetic). It’s about ninety minutes long and in it we follow a group of animals; some who are living on an animal sanctuary and others who are living on a farm. The animals prominently featured are a mother pig and her newborn piglets. The film opens with a scene of a mother pig feeding her newborn litter. And we follow the mom and her children as the newborns grow.

The point of this film is animal activism. As a vegan I have seen all the slaughterhouse videos. I have seen cruel and unspeakable acts by humans towards living sentient creatures. These videos are commonplace in the community and used as ways to open people’s eyes to the atrocities of animal agriculture. And it does work sometimes. “Gunda” gives an alternative to videos of brutality and throat slashing violence. And it does it majestically.

I believe there is a place for film like “Gunda” which makes the same case (if not stronger) for animal sentience. It shows that a piglet or calf, etc. will suckle from their mother’s teat, will play like puppies and will look to their mothers for guidance when navigating a large field, if you let them. Also, a mother pig or a cow, etc. will feed and raise their young, if you let it. 

While there is no blood and no slaughterhouse shown in this film, there is a third act which will have audiences emotionally distraught as we begin to understand the fate which awaits these creatures.

3. Luca:

“Luca” is the story of a young boy sea monster named Luca (voiced by Jacob Tremblay) who has become infatuated with seeing what lies above the surface and on the coastal Italian town of Portorosa. He is told by his parents that good kids (sea monsters) don’t venture to the surface. But when another boy sea monster his own age, Alberto (voiced by Jack Dylan Grazer) sparks his curiosity by showing him that he can venture onto land and change into human form once on the surface, Luca soon discovers that this place may be where he’s meant to be.

This is a whimsical Pixar Italian folktale for sure, with all that entails. High quality animation, entertaining story with lots of levity, but also themes of fear, loss and acceptance told in a way that a child can digest. That said, it’s not hard to see “Luca” for what it is, with a particularly tender relationship between these two boys at its forefront and telling a story where these boys must hide their identity for fear of being hurt; where on multiple occasions they are referred to as “kids who are different”. While the plot of “Luca” could be seen as more simplistic than others in the Pixar canon, it’s more than a little exciting to finally see a film like this. An animated film which carries the same Pixar award worthy standards, and also celebrates an LGBTQ+ story; even if the corporate machine behind it attempts to gaslight us all, denying this watershed moment.     

This is one of the most important movies in the history of animated film.  

2. West Side Story:

How do you make arguably the greatest musical in history even better? Let Steven Spielberg have a go. This remake of the 1961 film and/or the 1957 Broadway production, is a masterclass.

We all know this Romeo and Juliet inspired story. Boy (Ansel Elgort) and girl (Rachel Zegler) from different sides of the tracks (one white, the other Puerto Rican) fall in love despite their families wishes and fighting ensues. Anyway, expectations were high and expectations were exceeded.

Spielberg and writer Tony Kushner actually add elements to the source material, which in another director’s hands would be catastrophic. But every element added gives this version more life and context and allows the characters to become more three dimensional. It’s undeniable.    

Spielberg continues, giving audiences camerawork which seems to dance and glide alongside choreography so breathtaking that it made the entire theater vibrate. 

He also gives us Latino characters speaking Spanish without the addition of subtitles, a move which may not seem like much to some, but to those who never looked to the original for representation, this is one of the touches which reinforces that this is also a Latino story. Furthermore, this film contains far more Afro-Latino representation than Lin-Manuel Miranda’s “In the Heights” (big eyes emoji).

This acclaimed filmmaker is asked to remake a legendary film. And what he does is make it his own while also pausing at times to reenact iconic shots, paying homage by creating sequences which look visually as though we are back watching the 61’ version; giving us fans all the nostalgia feels. 

Watching this movie reminded me why Steven Spielberg is the greatest director alive.

1. Last Night in Soho:

If anyone could fit this much movie into one experience it would be Edgar Wright.

In this female lead horror, with the best soundtrack of the year, writer/director Edgar Wright tells the story of Ellie (Thomasin McKenzie), a young woman from the country who gets a chance to go to London to pursue her dream of becoming a fashion designer. It’s alluded that she’s had some sort of breakdown in the past and that London might be overwhelming for her. Ellie rents a room in an old house and when she falls asleep, she begins to have dreams (or visions) where she is transported to 1960’s London, where she seems to become this other woman, an aspiring singer played by Anya Taylor-Joy. Ellie becomes enamored as each night she falls asleep and lives through this mysterious other woman. But theses dreams turn to nightmares, as she discovers that London has a darker side and the true monsters in this horror story are men.

Visually this film is delicious, with every stylized sequence popping and grabbing and pulling the audience into the film, just as the protagonist is pulled into 1960’s London. The script is perfect, fluidly sliding in, out and around the horror genre, building into a quite unexpected mystery.  

“Last Night in Soho” is the culmination of every Wright movie. It is a masterpiece which gave me the same feeling I got the first time I watched Hitchcock.

Follow me on Twitter @moviesmarkus and on Instagram @moviesmarkus1

Here are 15 movies that didn’t make my top ten list, but I still enjoyed and would recommend.

11. Eternals

12. Violet

13. Summer of Soul (…Or, When the Revolution Could Not Be Televised)

14. Candyman

15. A Quiet Place Part 2

16. Godzilla vs. Kong

17. Benedetta

18. Annette

19. Encanto

20. The Mitchells vs. the Machines

21. C’mon C’mon

22. Judas and the Black Messiah

23. In the Heights

24. The Green Knight

25. Licorice Pizza