71st British Academy Film Awards – Breakdown

2018, Uncategorized

Last night saw the Royal Albert Hall play host to the 71st Annual British Academy Film Awards, or as they are most commonly know, the BAFTA’S. Although not as coveted as the OSCAR’s, the BAFTA’s are the biggest night in film this side of the Atlantic. Of course, all awards are rather trivial, a chance for the industry to pat themselves on the back, but they are still incredibly important. It’s a great chance to celebrate the previous year in film, and to bring attention to some amazing work that might otherwise go un-noticed. Your favourite film might not win, or even get nominated, which is always frustrating and you could spend your time moaning about this, but where’s the fun in that. Here we will go through all of last nights big winners.

Best Film

Call Me By Your Name
Darkest Hour
Dunkirk
The Shape Of Water
Three Billboards Outside Ebbing, Missouri

I’ll admit that I’ve only seen three out of these five movies, but out of the films on this list that I had seen, Three Billboards was a well deserved winner. Dunkirk was great, but maybe lacked the emotional resonance to really compete. The Shape Of Water was also fantastic, for me it was a close race between this and Three Billboards.

Outstanding British Film

Darkest Hour
The Death Of Stalin
God’s Own Country
Lady Macbeth
Paddington 2
Three Billboards Outside Ebbing, Missouri

Three Billboards won again, which makes complete sense that the best film would also be the best British film. Personally, I would have loved to have seen Paddington 2 pick up the award, but there are some great films on this list. All worth a watch.

Best Animated Film

Coco
Loving Vincent
My Life As A Courgette

I loved Coco. It’s another well deserved win. The other two movies are definitely worth checking out, but Pixar are maintaining their dominance over this category. Hopefully, one day they’ll recognise them as the Best Picture.

Best Documentary

City Of Ghosts
I Am Not Your Negro
Icarus
An inconvenient Sequel
Jane

I haven’t seen any of these. I love my documentaries, but I usually wait until after awards season to check out the best the year had to offer.

Best Director

Denis Villeneuve, Blade Runner 2049
Luca Guadagnino, Call Me By Your Name
Christopher Nolan, Dunkirk
Guillermo Del Toro, The Shape Of Water
Martin McDonagh, Three Billboards Outside Ebbing, Missouri

The Shape Of Water may have missed out on Best Film, but Guillermo picked up his Best Directors award, in a pattern I think will be repeated at the OSCAR’s. The Shape Of Water is a beautifully directed movie, and Guillermo is one of our most unique directors. Nolan must be thinking that he’s another Scorsese, on of the best directors of his time, but never recognised during awards season.

Best Actor

Daniel Day Lewis, Phantom Thread
Daniel Kayuula, Get Out
Gary Oldman, Darkest Hour
Jamie Bell, Film Stars Don’t Die In Liverpool
Timothée Chalamet, Call Me By Your Name

This was the biggest non-surprise of the night. They’re all great performances, but there was only ever one winner here. Gary Oldman continues his winning streak with his portrayal of Winston Churchill. It’s a shame though that these award ceremonies are okay with the make-up used to enhance Oldman’s performance, but are yet to recognise Andy Serkis’ mo-cap assisted performances.

Best Actress

Annette Benning, Film Stars Don’t Die In Liverpool
Frances McDormand, Three Billboards Outside Ebbing, Missouri
Margot Robbie, I,Tonya
Sally Hawkins, The Shape Of Water
Saoirse Ronan, Lady Bird

When the nominations came out, I thought this might have been the closest run category. The performances here are all fantastic, but McDormand delivers a tour-de-force performance which can’t help but grab all the attention.

Best Supporting Actor

Christopher Plummer, All The Money In The World
Hugh Grant, Paddington 2
Sam Rockwell, Three Billboards Outside Ebbing, Missouri
Willem Defoe, The Florida Project
Woody Harrelson, Three Billboards Outside Ebbing, Missouri

Again, no real surprises here. Some may have been hoping for an upset with Willem Defoe snatching it, but that would have meant some people actually saw The Florida Project. Sam Rockwell has been great for ages, and it’s nice to see him getting recognised.

Best Supporting Actress

Allison Janney, I, Tonya
Kristin Scott Thomas, Darkest Hour
Laurie Metcalf, Lady Bird
Lesley Manville, Phantom Thread
Octavia Spencer, The Shape Of Water

Heading into awards season, it seemed that this was a two horse race between Allison Janney, and Laurie Metcalf, but it seems now that Janney is set to sweep the board. Best known for her role in The West Wing, it’s great to see another fabulous character actor get some accolades.

Best Original Screenplay

Get Out
I, Tonya,
Lady Bird
The Shape Of Water
Three Billboards Outside Ebbing, Missouri

Whilst we would have all loved to see Get Out win some awards, it’s clear to see that Three Billboards is the most showy screenplay in this category. It’s full of fantastic dialogue, and deals with complex issues. This was the hardest category of the night for me, as they’re all great.

Best Adapted Screenplay

Call Me By Your Name
The Death Of Stalin
Film Stars Don’t Die In Liverpool
Molly’s Game
Paddington 2

I haven’t seen Call Me By Your Name Yet, and I did really enjoy Molly’s Game, but Paddington 2 should have won.

That’s it for the main categories of the night. It was a predictable night, and I’m hoping for a few more upsets at the OSCAR’s. Three Billboards was the big winner, and now seems most likely for Best Picture at the OSCAR’s, although The Shape Of Water might have something to say about that.

Below you can find the list of all the other winners. Special mention to Daniel Kaluuya for his EE Rising Star Award, and Ridley Scott for his Fellowship.

EE Rising Star: Daniel Kaluuya
Best Original Music: The Shape Of Water
Best Make Up And Hair: Darkest Hour
Best Costume Design: Phantom Thread
Best Editing: Baby Driver
Outstanding British Contribution To Film: National Film and Television School
Best British Short Animation: Poles Apart
Best British Short Film: Cowboy Dave
Best Film Not In The English Language: The Handmaiden
Best Production Design: The Shape Of Water
Best Special Visual Effects: Blade Runner 2049
Outstanding Debut by a British Writer, Director or Producer: I Am Not A Witch
Best Sound: Dunkirk
Best Cinematography: Blade Runner 2049
BAFTA Fellowship: Ridley Scott

 

Coco

2018, Uncategorized

Dir. Lee Unkrich and Adrian Molina

Starring: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Alanna Ubach.

Pixar are pretty much unmatched in the field of animation. Their back catalogue is filled with certified classics. In recent years there have been complaints that the studio has suffered a dip in quality, with the amount of sequels being singled out as the problem, but even when Pixar are below their usual high standards, they are still head and shoulders above their peers. For every Monsters University there is a Toy Story 3, and for every Good Dinosaur there is a Inside Out. Going into Coco, you can only hope that this measures up against those gems.

Coco is the story of Miguel, a Mexican boy who feels that he is cursed as his family has banned music, and he loves music. When they thwart his plans to play a talent show during the Day Of The Dead, he attempts to steal his deceased hero’s guitar. He believes his hero, Ernesto de la Cruz, is his great great grandad, the man who left his wife and baby, and set off the families hatred of music. The Day Of The Dead is a festival in which the deceased can pass back into the land of the living, but when Miguel steals the guitar he enters into the Land Of The Dead. He will be trapped there permanently unless he gets the blessing of his dead relatives, but they won’t give it to him unless he refuses to play music ever again. This leads Miguel to enlist the help of Hector, a man who is being forgotten by his last relative which will lead to his second death, to get him to Ernesto so he can get a blessing and still play music.

Coco is a gorgeous movie. The world building, the use of green, purple and orange hues creating a vibrant colour palette, and the look of the characters. It’s astonishing that 18 years on from Toy Story, animation has progressed this much. It’s jaw-dropping what Pixar have managed to achieve in this movie. Other animation houses don’t even come close. There are times when you question if what you are seeing is completely computer generated or not, it is that photo-realistic. There is so much fun to be had in exploring the Land Of The Dead as well. The way the world is built is fantastic, it’s intriguing, innovative, and intricate.

Music is an integral part of the film. There was remit for this to go so wrong. The mariachi Disney fan fare at the beginning is as close as this film gets to pastiche, and the rest of the musical sequences are so heartfelt, honest, and true, the songs become the emotional back bone of the movie, and this is an emotional movie. The same can be said about the way the Mexican culture is used, the obvious affection shining through in every frame.

Pixar have dealt with death before, but here it is a central theme, along with legacy, family, and the old chestnut of being yourself. If you’re not crying by the end of the movie you’re a colder person than me. Unkrich and Molina also have fun in subverting some of your expectations. Ernesto’s message of seizing your moment, which Miguel puts so much stock in, turning sinister by the end, adding another dimension to a film that could have been very by the numbers. The set-up, whilst complicated, leads to a very simple plot, but this is a kids movie, and yes, Pixar have used this outline before, but who cares when it looks as good as this, and still resonates hard on every level.

Coco is another classic in the Pixar library. A film about family, and the memories you leave behind. This take its place next to Inside Out, Finding Nemo, Monsters Inc. and the Toy Story Trilogy as some of the finest modern day animations. It will thrill the kids and delight the parents. Sitting through the trailers for other animated movies that are being aimed at young audiences, and it’s almost laughable how far ahead Pixar are. They treat all their audience members with respect and intelligence, and fill their movies with genuine love and affection. Looking at the OSCAR nominations for Best Animated Picture, and seeing Coco sitting next to The Boss Baby really highlights how far behind everyone else is.

9/10