"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

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The Greatest Beer Run Ever: A Review and Commentary

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!****

My Rating: 2 out of 5 stars

My Recommendation: SKIP IT. An unforgettable true story turned into a completely forgettable motion picture.

The Greatest Beer Run Ever is the amazing, nearly unbelievable, true story of John “Chickie” Donohue, a seemingly dim-witted, ne’er do well merchant mariner from Inwood in New York City, who decides to show his support by traveling to Vietnam in 1968 to deliver beer to his neighborhood buddies serving in the war.

The Greatest Beer Run Ever, which is written and directed by Peter Farrelly and stars Zac Efron and is currently streaming on Apple TV +, is a really great story…but unfortunately, it’s a bad movie.

Farrelly (There’s Something About Mary) won a Best Picture and Best Original Screenplay Oscar four years ago for Green Book, his much-maligned movie on race relations, which was also set in New York City in the 1960’s and dealt with a conservative seeing the light and embracing a more progressive vision.

Green Book wasn’t as bad as the interminably aggrieved victimhood brigade would have you believe, but it also definitely wasn’t Best Picture material (although with the laughable CODA winning the award last year who the hell knows what a Best Picture worthy movie is anymore). Green Book was basically a well-crafted, well-acted, rather simple-minded movie about hope for humanity, no wonder it was so hated in our current awful age.

With The Greatest Beer Run Ever, Farrelly seems to, in the wake of the Green Book criticisms, be trying to either bolster his much tarnished liberal bona fides or give a mea culpa for his perceived sins against the new woke religion. Whatever he’s trying to do…he fails miserably.

Green Book, for all its shortcomings, worked as a piece of middlebrow entertainment masquerading as upper middle-class art, because it featured two really terrific actors, Viggo Mortenson and Mahershala Ali (who won a Best Supporting Actor for his work). The Greatest Beer Run Ever is not so blessed, as it stars poor Zac Efron.

Efron seems like a nice guy, and I have absolutely no animus towards him whatsoever and wish him nothing but success. But the truth is he’s an extremely limited actor and those limitations are laid bare in this film.

Efron’s Chickie is like a more handsome, street-smart Forest Gump who stumbles through history oblivious to his own buffoonery. As one Sergeant says upon meeting Chickie in a war zone, “don’t worry about him, some people are just too stupid to get killed.”

As for Efron, he’s a good-looking kid (“kid” – he’s 34!) but he’s utterly devoid of charisma and magnetism. He almost seems to be trying to hide in front of the camera. Emotionally he’s a black hole from which no life or light escapes. And his dismal New Yawk accent is come and go for the first third of the film and then disappears completely for no apparent reason.

To be clear, Efron isn’t the only bad actor in the movie. The entire supporting cast, with two notable exceptions, are simply dreadful.  The egregiously amateurish cast are either over-the-top caricatures or underwhelming to the point of invisibility.

In particular, Chickie’s group of friends in New York are portrayed by a collection of the worst actors I can remember seeing in a mainstream movie and their accents are less New York than they are a rancid stew of Providence, Boston and Maine. I won’t name any of them out of some twisted sense of compassion, but holy shit they are embarrassingly bad.

The two notable exceptions regarding the abysmal acting are Bill Murray as The Colonel, a World War II vet who runs the local bar, and Russell Crowe, as a journalist in Vietnam. Murray and Crowe are not particularly exceptional in their roles, but whenever they are on-screen a sense of relief comes over the viewer as they know at least they’re in the hands of professionals. Murray and Crowe feel at home on the screen, whereas everyone else, most notably Zac Efron, does not.

To be fair to Efron, Farelly’s script and his direction are no help either as they’re utterly atrocious.

There are major plot points and dramatic moments throughout the movie that need to be earned but simply never are, like when Chickie makes the decision to go to Vietnam, it just sort of happens…and everything, particularly the crucial emotional beats, are as vacuous as that.

Another grating thing about the movie is that a major plot point is Chickie must carry a bevy of beers (Pabst Blue Ribbon cans) in a duffle bag across the ocean and all over Vietnam. Beers are heavy, but Chickie’s wondrous bag always seems nearly weightless and empty, but he continuously pulls beer after beer after beer out of it like it’s a magic hat.

If that bag were realistic, and Chickie had to lug it around and decide between dumping out beers or staying true to his mission, then the story and his burden would take on great meaning. The duffle bag literally could’ve been Chickie’s (and America’s) cross to bear across the globe for the sin of the Vietnam war…but instead it’s just a ticky-tack prop that draws viewers out of the reality of this astounding true story.

Another major issue is that Farrelly’s tone through much of the movie is whimsical, and it undermines the horror of the war we see unfolding before us and it all feels…unseemly. There’s a scene like this at the front lines in Vietnam which is so poorly choreographed and directed, and tonally off-kilter, that I found it repulsive.

What’s so grating about The Greatest Beer Run Ever is that it really could have, and should have, been great.

As I watched I kept thinking of how amazing this film would’ve been if it were made in the 1970’s, when the topic, a conservative ‘Road to Damascus’ moment regarding the crime and calamity that was the Vietnam war, would have more cultural resonance, meaning and impact. Imagine a movie like that directed by someone like Hal Ashby and starring Jack Nicholson, I mean God-damn…THAT would’ve been worth seeing!

But instead, we get this rather pathetic modern-day effort from Farrelly and Efron that feels almost instantaneously forgettable.  

To be fair, there are a few sequences that I thought were well done, most notably when Chickie runs into a little Vietnamese girl in a field and tries to interact with her. The scene is shot without sound with music playing over it and it’s easily the best and most profound scene in the film. Another interesting visual is what I will call “the falling-man” shot…which was very reminiscent of 9-11 and therefore was loaded with uncomfortable but insightful symbolism.

What is most interesting to me about the rather uninteresting The Greatest Beer Run Ever though, is that Farrelly was attempting to make somewhat of an anti-war movie in an age when anti-war movies are so rare as to be extinct. The reason for this is two-fold…first, the Pentagon and intelligence community control Hollywood and the messages about the military and war that it produces – and anti-war sentiment is not on their agenda. This manifests in movies and tv shows like Top Gun: Maverick and Seal Team getting made and movies like Oliver Stone’s long planned project on the My Lai massacre not finding funding. Secondly, the anti-war movement in America, along with Occupy Wall Street, Tea Party and the rest of the populist movements of both left and right, have been successfully co-opted and crushed by the establishment, resulting in the anti-war movement being virtually non-existent today.  

Anti-war sentiment is now anathema in America, as liberals – long the vanguard in anti-war movements, have been so easily conditioned to demand blood lust, most notably against Russia. The same liberals I marched with against the Iraq war in 2003 are now ignoring the War in Yemen and demanding all-out war in Ukraine – up to and including nuclear war, and unthinkingly regurgitate vapid establishment propaganda like children reciting their A-B-C’s.

If you apply logic and dare to question establishment propaganda, like the obvious inanities of the Ghost of Kiev, or the Snake Island buffoonery, or the less obvious but equally dubious claims of the Bucha massacre, or the supposed Russian rape camps, or you speak out against the U.S. escalating the war by sending billions upon billions of dollars to Ukraine (in the form of weaponry) and sabotaging the Nord Stream pipelines, you’ll be reflexively tarred and feathered as a shill or stooge for Putin.

People have become deathly allergic to context (and thinking), so if you point out the fact that the U.S. instigated the illegal coup in Ukraine in 2014 ,and later broke the Minsk Peace agreements, and point out the fact that Ukraine killed 14,000 ethnic Russians (who were Ukrainian citizens) in the Donbas in the eight years after the coup, and that the Ukrainian government is riddled with fascists who banned the Russian language and shut down media outlets and opposing political parties, you’re just a useful idiot on Putin’s payroll.

This sort of shallow, simple-minded, historically illiterate, Manichean, knee-jerk jackassery used to be what liberals called out on the right and righteously fought against, but now liberals act exactly like flag-waving, McCarthy-ite right-wingers demanding all those with opposing views slavishly obey the establishment line or be branded a traitor or Russian sympathizer, or both. These empty-headed, emotionalist liberal fools are afflicted with the same disease they used to fight against, and are completely blind to their reactionist Russo-phobic conditioning.

The co-opting of the anti-war left by neo-con war mongers and neo-liberal corporatists is a calamity and will be catastrophic for the health of our nation, and may well lead to another world war and all of us to a fiery death.

On that less than pleasant note, let’s return to an equally unpleasant but much less important topic…The Greatest Beer Run Ever.

In more skilled and gifted-hands The Greatest Beer Run Ever could have made salient points on these weighty and vital issues and held a mirror up to reveal the madness that has engulfed America and its anti-anti-war discourse and actions. But unfortunately, Peter Farrelly lacks the needed craft, talent and courage to make such a meaningful movie, and instead churns out this flaccid, flimsy, D-level nonsense that will come and go with no one noticing.

The bottom line is that The Greatest Beer Run ever is a missed opportunity, and you would be wise to miss it too.

 

©2022

8th Annual Slip-Me-A-Mickey™® Awards: 2021 Edition

Estimated Reading Time: 69 seconds

The Slip-Me-A-Mickey™® awards are a tribute to the absolute worst that film and entertainment has to offer for the year. 2021 was a particularly heinous one for cinema, so the Slip-Me-A-Mickeys flourished in a very target rich environment.

Again, the qualifying rules are simple, I just had to have seen the film for it to be eligible. This means that at one point I had an interest in the film and put the effort in to see it, which may explain why I am so angry about it being awful. So any vitriol I may spew during this awards presentation shouldn't be taken personally by the people mentioned, it is really anger at myself for getting duped into watching.

The prizes are also pretty simple. The winners/losers receive nothing but my temporary scorn. If you are a winner/loser don't fret, because this years Slip-Me-A-Mickey™® loser/winner could always be next years Mickey™® winner!! Remember…you are only as good as your last film!!

Now…onto the awards!

 Worst Film of the Year

The Tender Bar – A boring, dramatically incoherent coming of age tale that makes an episode of The Wonder Years look like Lawrence of Arabia. George Clooney may be the very worst director making big time Hollywood movies. His butchery of this film is done with a chainsaw and not scalpel.  

Being the Ricardos – This cheesy, ham-handed Hollywood humping manages to turn Lucille ball and Desi Arnaz into the two dullest people in entertainment history.

Eternals – This is the worst Marvel movie I’ve ever seen and it isn’t even close. That is quite an accomplishment in cinematic futility.

Space Jam: A New Legacy – You know what would be fun…to put a legitimately moronic meathead who can barely speak a coherent sentence, LeBron James, on-screen with a bunch of corporate intellectual property and let them play basketball. Watching LeBron’s hairline recede is more entertaining.

And the Slip-Me-A-Mickey™® goes to…

Space Jam: A New Legacy – Hey, look at that, at least LeBron won something this year.

Worst Performance of the Year

LeBron JamesSpace Jam: A New Legacy - LeBron is a mental and moral midget, but he’s also got the charisma of a pile of week-old dog shit…so he’s got that going for him.

Benedict CumberbatchThe Power of the Dog – Speaking of dog shit…Benedict Cumberbatch, or as my friend Dave calls him, Bend-her-dick Cunt-her-snatch, is supposed to be a menacing old-school cowboy in this movie, but from scene one he’s sashaying around like he’s working it on RuPaul’s runway. If they’d cast the cowboy from the Village People in this role it would’ve been less obviously gay.

Adam DriverHouse of Gucci – Adam Driver is a giant, walking, talking anus. When you put him in Italian clothes, with Italian glasses, and have him speak with an Italian accent, he morphs into being a giant, walking, talking anus wearing Italian clothes and glasses, that has an Italian accent.

Jared LetoHouse of Gucci – Leto’s performance in this movie makes Father Guido Sarducci look like Sir Laurence Olivier. A master class in awful acting.

Lady GagaHouse of Gucci – Gaga made me gag-gag with her wandering accent and hyper-theatrical posing in this dreadful movie. It is one of the great tragedies of human kind that Gaga now takes herself seriously as an actress.

And the Slip-Me-A-Mickey™® award goes to…

Jared Leto – Leto is the Leonardo da Vinci of awful over-acting.

Most Overrated Film of the Year

CODA CODA is a Hallmark Channel movie that somehow won the Oscar for Best Picture. It is the worst film to win Best Picture in the history of the Academy Awards. The script is awful, the direction amateurish, the acting, including Troy Kotsur, is painful to watch. It also astonishes me that critics didn’t eviscerate this film but instead praised its soft-peddled, after school special bullshit.

The Power of the Dog – Jane Campion is a shitty director and this is a shitty movie. Arthouse fool’s gold that fooled a lot of people…but not me. Trite, vacuous, vapid and venal, this movie is poorly written, poorly directed, poorly acted and just all-around poor.

West Side Story – Steven Spielberg can make any movie he wants…and he made THIS piece of shit? If I want to watch dance teams square off in embarrassing street fights, I’ll just watch the original, better version of the story. An entirely useless exercise in historical cinematic revisionism.

And the Slip-Me-A-Mickey™® goes to…

CODA – I wish I was deaf and blind so I’d never have to see or hear about this stupid movie.

Worst Big Budget/Blockbuster/Action/Comedy of the Year

Eternals - See Above.

Ghostbusters: Afterlife – A terrific movie if you want to destroy a long-loved franchise with talentless teens and a terrible script.

Matrix: ResurrectionThe Matrix was great. But literally every Matrix movie since the original has gotten worse by at 75%. This abysmal piece of shit puts the franchise deep into negative territory.

And the Slip-Me-A-Mickey™® awards goes to…

Eternals – This was a tough choice as these movies are all abysmal, but sitting through the two hour and thirty-six-minute woke slog that was Eternals was utterly excruciating to the point of torture.

Worst Director

George Clooney – Ironically, Clooney is on one of the most impressive runs of futility for a director since the Joel Schumacher heyday. Just when you think he can’t do any worse, he puts out The Tender Bar, and proves you wrong.

Aaron Sorkin – Sorkin proved last year with The Trial of the Chicago 7 that he was one of the worst directors of his generation, and he keeps the streak alive with Being the Ricardos.

Chloe Zhao – Zhao won an Oscar last year for Nomadland. This year she showed off what an incredibly shitty director she is with Eternals. Good for her.

And the Slip-Me-A-Mickey™® award goes to…

All three of these bags of shit. They’re all fucking terrible.

Special Achievement in Cinematic Malpractice

George Clooney – Clooney’s ability to continue to make one movie more awful than the last is a tribute to the endless supply of suck-ups and sycophants in Hollywood and to Clooney’s delusional sense of self. The shitshow that is The Tender Bar is a testament, and should stand as a monument, to the hackery of the ultimate Hollywood asshole...George Clooney.

POS Hall of Fame –

The Smith Family

At the 2015 Slip-Me-A-Mickey™® awards, the Smith family were voted to the Piece of Shit All-Stars. This year they’ve made the big leap to become Piece of Shit Hall of Famers!

Here’s a brief glimpse of what I wrote back at the 2015 Slip-Me-A-Mickey awards regarding the Smiths.

“This year we got to hear from Jada Pinkett-Smith how her husband was snubbed by the Academy Awards because he was black. We also got to hear how Jada was boycotting the Oscars in a show of solidarity with other snubbed black actors…which was convenient since she wasn't invited (as Chris Rock hilariously pointed out). I have one simple request for the entire Smith family...Will, Jada, Jaden and Willow…please shut the fuck up and go away forever. Will Smith is an abysmal hack of an actor and a dopey embarrassment as a "rapper". Jada Pinkett-Smith is a fly on the shit that is Will Smith, she desperately needs to bottle her manufactured self-righteous anger, stop talking immediately and vanish with her equally obnoxious other half. Jaden and Willow are kids, so they have an outside chance to not be as malignantly narcissistic as their God-awful parents, but I gotta be honest… it isn't looking very good as they aren't off to the best possible start in not following in their egotistical parents footsteps.”

Well, well, well, looks like I hit the nail on the head six years ago regarding the shitbag Smith family.

The truth is Will “Limp Willie” Smith has always been one of the biggest pieces of shit in Hollywood, and now with his slap of Chris Rock at the Oscars, everyone else gets to see the reality that I’ve known for a long time.

Will has been a piece of shit from day one. He is a bad joke as a rapper and his music has been an embarrassment for all sentient beings from the get-go. His acting career has also been an embarassment from day one. Will Smith is now and always has been a shitty rapper, shitty actor and shitty person. He is, undoubtedly, an incorrigle twat.

Speaking of twats, Will’s wife, Jada, is a talentless, narcissistic whore who’s done a wonderful job of making a cuckold out of her impotent and equally talentless husband by fucking her son’s friend August Alsina. She’s also a wondrous mother who has churned out two of the most repulsive spawn in Hollywood – no small task.

Jaden Smith, Will and Jada’s son, tweeted in the aftermath of Will’s slapping Chris Rock, “that’s how we do it”. Oh, really tough guy? Well Jaden, I invite you to don one of your signature skirts, and then go out into the real world with your toothpick arms, slap somebody, and see what happens to your non-binary ass. I know you don’t know this because you’re an entitled dandy who has never been around a real man in your entire life, but the real world ain’t the Oscars or the movies, and you’re going to find that out the hard way if you ever prance out of your privileged bubble, bitch.

One can only hope that the Smiths, who as individuals and as a collective family, are the most noxious, odious and malignant narcissists in all of Hollywood, a stunning achievement, are sentenced to a life of being in each other’s presence. They deserve that torture, and we deserve that reprieve.

Congratulation Will, Jada, Jaden and Willow, you’re all well-deserving members of the Piece of Shit Hall-of-Fame! Now kindly go fuck yourselves you rancid cunts.

And thus concludes another Slip-Me-A-Mickey™® awards. If you are one of the people who “won” this year I ask you to please not to take it personally and also to try and do better next year….because remember…this years Slip-Me-A-Mickey™® award winner could be next year’s Mickey™® Award winner!!which are the final awards show on the calender.

The Slip-Me-A-Mickey™® awards are the final award show on the 2021 calender. That means that 2021, the most dreadful year in recent cinema history, is now, officially and not-so-mercifully, over. Thank the good lord….and I pray that 2022 saves us from the cinematic hell that was 2021. As always…I am not optimistic.

©2022

94th Academy Awards: 2022 Oscar Prediction Post

So, the Academy Awards are once again upon us and once again no one gives a rat’s ass.

With my ear to the Hollywood ground the one thing that comes across very loudly is overwhelming silence and the over-abundance of indifference. It wasn’t always like this. Just a few years ago I remember Tinsel Town and its inhabitants being abuzz with Oscar talk, but no more.

The Academy has made major changes to its membership in the last few years, dumping older, whiter, male voters, in favor of a certainly more diverse, but also considerably less accomplished group of people. The results have been mixed at best.

The ratings for the show have consistently declined, but blaming that on the new Academy members is a stretch since the ratings have been declining for a decade.

Unfortunately, the Academy, and the changes it made, are just a reflection of the overall decline of film’s relevance in our culture. The movie industry is currently neck-deep in a self-defeating transformation that rewards identity tokenism and marginalizes craft, skill and talent. The current steep decline in cinema is a direct result of the of studios being more concerned with diversity and inclusion than with quality…and that is only going to get worse going forward. The Oscars reflect the current state of the movie industry by reducing their awards to merely being some sort of victimhood/identity Olympics, and not a celebration of the greatest in cinematic artistry.

This year’s Academy Awards are a perfect example. The ten films nominated for Best Picture are, frankly, all pretty forgettable if not fucking awful. The best among them are, at best, raging mediocrities.

Speaking of raging mediocrities, the hosts for the show, the first hosts in three years, Amy Schumer, Wanda Sykes and Regina Hall, are another sign of the terrible times, as they’re a trio of half-wit has-beens and anonymous nobodies who would need to make quite a leap to hit the promised land of mediocrity.

Not a soul on the planet will tune in to specifically watch Amy Schumer, Wanda Sykes and that other lady I’ve never heard of, just like no one will tune in to see if the egregiously over-rated The Power of the Dog wins Best Picture.

No matter which film wins Best Picture, and the two favorites are The Power of the Dog and CODA, this ceremony and the ultimate winner of it will be almost instantaneously forgotten. If The Power of the Dog wins it will not be remembered kindly by history because history will, like the rest of humanity, ignore it.

If CODA wins it will easily be the worst film to ever win Best Picture, and history will mark this year as the unofficial end of the Oscars as any sort of cultural landmark. I guess that would be apropos since it would coincide with the end of the American Empire.

As for my power of prognostication regarding the Oscars, I used to be much better than I am now. For years I won every Oscar pool I entered and that was because the Academy members were so reliably predictable in their picks. Now, with the new Academy, I am less Nostradamus and more Nostradoofus.

Despite knowing some Academy members, and talking to lots of film industry people across the board and up and down the income scale, I still have no insight as to how the new Academy will vote. I know how they think, which is frightening, but am not even remotely sure how they’ll vote.

In other words, at this point I’m just guessing. But I’m confident I’ll still win my Oscar pools just because irrational confidence is a learned trait I’ve yet to discard.

With all of that said, here are my picks for the 94th Academy Awards.

Best Cinematography

  •  The Power of the Dog – A female cinematographer is too much for the identity obsessed Academy to pass up, so The Power of the Dog eeks out a win over the visually impressive Dune.

Best Editing, Best Production Design, Best Sound, Best Score, Best Visual Effects

  •  Dune - Wins all of these and has a big night in the technical and below-the-line categories.

Best Hair and Makeup

  •  The Eyes of Tammy Faye – Again…I’m guessing but feels about right.

Best Costume

  •  Cruella – There’s a chance Dune wins this one too but I think Cruella takes the prize as it is the most dramatically fashionable costuming of all the nominees.

Best Documentary Short

  •  The Queen of Basketball – I only chose this because Steph Curry and Shaq are producers on the film and Hollywood loves them some NBA star power.

Best Live Action Short

  • The Long Goodbye – Riz Ahmed is involved in this film and again, Hollywood likes star power.

Best Animated Short

  • Robin Robin- It has famous people in it, so I figure it will win.

Best Documentary

  • Summer of Soul – Seems about right.

Best Supporting Actress

This seems set in stone. Ariana DeBose is going to win and maybe rightfully so. I thought she was the lone dynamic presence is Spielberg’s moribund musical retread.

Jessie Buckley – The Lost Daughter

*Ariana DeBoseWest Side Story

Judi DenchBelfast

Kirsten DunstThe Power of the Dog

Aunjanue EllisKing Richard

Best Supporting Actor

Quite a mixed bag in this category, but the tea leaves say Troy Kotsur will beat out Kodi Smit-McPhee. I think CODA is garbage, and all due respect to Kotsur, I don’t think he’s very good in that bad film. But what the hell do I know?

Ciaran Hinds – Belfast

*Troy Kotsur – CODA

Jesse Plemons – The Power of the Dog

J.K. Simmons – Being the Ricardos

Kodi Smit-McPhee - The Power of the Dog

Best Original Screenplay

I think this is going to be a weird category. PT Anderson is a genius but Licorice Pizza is not even remotely his best work. The old Academy would’ve awarded Kenneth Branagh for Belfast…and I think the new Academy does the same exact thing because they don’t know who else to reward so they choose the actor Branagh. Don’t count out PT Anderson though…he’s got a legit shot. If Don’t Look Up wins, and it’s got a legit chance, then hopefully a meteor will immediately hit earth and put us all out of our misery.

*Belfast

Don’t Look Up

King Richard

Licorice Pizza

The Worst Person in the World

Best Adapted Screenplay

Tight category with potential winners being CODA, Drive My Car, The Power of the Dog and The Lost Daughter. I think The Lost Daughter wins because it’s written by Maggie Gyllenhaal and she’s very popular and has campaigned hard for it. It also doesn’t hurt that she’s a woman and the Academy is shooting for a #GirlPower Oscars this year. If this goes to either CODA or The Power of the Dog that will pretty much indicate that movie will win Best Picture too.

CODA

Drive My Car

Dune

*The Lost Daughter

The Power of the Dog

Animated Feature

I’ve not seen any of these movies and really don’t care but everyone I know who has seen any of them raves about Encanto, so I think it wins here…but Flee is intriguing because it’s nominated in three categories, and maybe it’ll sneak out a win here or in documentary.

*Encanto

Flee

Luca

The Mitchells vs the Machines

Raya and the Last Dragon

Best International Feature Film

Drive My Car is the foreign film that has generated the most buzz for the longest period of time. I think it wins as its only real competition is The Worst Person in the World, but that movie seems to have gotten slow out of the gate and might not have enough time to catch up to Drive My Car, which I pick to win.

*Drive My Car

Flee

The Hand of God

Lunana: A Yak in the Classroom

The Worst Person in the World

Best Actor

The middling Will Smith is the odds-on favorite for his middling performance in the middling King Richard. I think he wins going away, but keep an eye out for a huge upset like we had last year with Anthony Hopkins beating out presumed winner Chadwick Boseman, as the middling Benedict Cumberbatch could sneak in there and shock the world with his equally middling performance as a middling gay cowboy in the middling The Power of the Dog.

Javier Bardem – Being the Ricardos

Benedict Cumberbatch – The Power of the Dog

Andrew Garfield – Tick, Tick…Boom!

*Will Smith – King Richard

Denzel Washington – The Tragedy of MacBeth

Best Actress

Easily the toughest category of the night. I think Jessica Chastain, who has campaigned hard for the award, finally wins an Oscar. Olivia Colman has a legit chance to win, but since she already has an Oscar, I think it goes to Chastain. Outside chance that Penelope Cruz takes the prize.

*Jessica Chastain – The Eyes of Tammy Faye

Olivia Colman – The Lost Daughter

Penelope Cruz – Parallel Mothers

Nicole Kidman – Being the Ricardos

Kristen Stewart – Spencer

Best Director

This is no contest as Jane Campion is going to win due to the identity politics of it all. I think The Power of the Dog is not a good movie, but to be fair, I don’t think any of these movies are great.

Kenneth Branagh – Belfast

Ryusuke Hamaguchi – Drive My Car

Paul Thomas Anderson – Licorice Pizza

*Jane Campion – The Power of the Dog

Steven Spielberg – West Side Story

Best Picture

Speaking of movies that aren’t great…ladies and gentleman, your 2021 Best Picture nominees!

Belfast

*CODA

Don’t Look Up

Drive My Car

Dune

King Richard

Licorice Pizza

Nightmare Alley

 The Power of the Dog

West Side Story

Yikes. Of these ten films, none of them are great, not even close. A few are ok, and a bunch are just plain shitty.

Both presumed front-runners, CODA and The Power of the Dog are bad movies. CODA is a joke as it’s basically a Hallmark Channel movie and it has no place being nominated. The Power of the Dog is over-rated, arthouse fool’s gold.

Belfast is a tame bit of maudlin movie-making, Don’t Look Up is a scattered diatribe, King Richard is the epitome of middle-brow mundanity, West Side Story is needless and lifeless.

Drive My Car and Dune are well made but deeply-flawed dramas. Licorice Pizza is a light romp from a brooding genius, and Nightmare Alley is a dazzlingly dark journey no one wants to take.

If this is the best the film industry has to offer, then something is catastrophically wrong with the film industry.

Regardless of all that, it seems to me that, as insane as it sounds, CODA, the worst, most amateurishly produced Oscar nominated film in living memory, is going to beat out The Power of the Dog, and win Best Picture.

 In ten years, no one will remember CODA. In five years, no one will remember CODA. In a year, no one will remember CODA. And by Monday morning, no one will remember these Academy Awards.

 Oh, how the mighty have fallen.

 

©2022

Looking California and Feeling Minnesota: Episode 63 - The Power of the Dog

On this episode, Barry and I put on our ten gallon hats, chaps and cowboy boots to discuss director Jane Campion's Oscar front-running anti-Western, The Power of the Dog. Topics discussed include toxic masculinity, Benedict Cumberbatch's lack of masculinity, and the state of the CODA v The Power of the Dog Oscar race.

Looking California and Feeling Minnesota: Episode 63 - The Power of the Dog

Thanks for listening!

©2022

Oscar Nominations

The art and business of movies is in a dreadful state and the Oscars are in precipitous decline.

Hollywood got up bright and early this morning to hear who amongst them was nominated for an Academy Award. The rest of the world slept through the festivities, just like they will on March 27th when the actual awards are handed out.

‘The Power of the Dog’ was the big winner when it comes to nominations, garnering 12 including Best Picture, Best Director, Best Adapted Screenplay, Best Supporting actor and Best Supporting Actress.

2021 has been the worst year for movies that I can remember, so the vastly overrated, middling, pretentious mess that is the arthouse poseur ‘The Power of the Dog’ being nominated for a bevy of Oscars comes as no surprise, and says a great deal about the current sorry state of not only the moviemaking business but the art of cinema. It also says a great deal more about the insipid taste of the Academy than it does about the cinematic value of the movie.

Other big winners when it comes to Oscar nominations are ‘Dune’ with ten nominations and ‘West Side Story’ and ‘Belfast’ with seven nods each.

The general public rightfully had no interest in Steven Spielberg’s virtue signaling song and dance routine so ‘West Side Story’ has been a big box office bomb. But not surprisingly, the Academy Awards slobbered all over Spielberg and his tired remake nominating it for, among other categories, Best Picture and Best Director.

‘Belfast’, the rather benign and banal arthouse fool’s gold from Kenneth Branagh, snagged seven nominations as well, including Best Director and Best Original Screenplay for Branagh himself.

Besides ‘The Power of the Dog’, ‘West Side Story’ and ‘Belfast’, the Best Picture category includes ‘King Richard’, ‘Licorice Pizza’, ‘Nightmare Alley’, ‘CODA’, ‘Don’t Look Up’, ‘Dune’ and ‘Drive My Car’.

This Best Picture lineup is, at best, a murderer’s row of mundane mediocrity, you’d be hard pressed to find even good movie among this lot, nevermind a great one.

‘King Richard’ is a mindless, middlebrow sports movie, ‘Licorice Pizza’ is a secondary effort from director P.T. Anderson, ‘Nightmare Alley’ is interesting but has been a dud at the box office and overlooked by critics, ‘CODA’ is basically a laughable amateurish Hallmark Channel movie, ‘Don’t Look Up’ is a scattered failure, ‘Dune’ is a cold but beautiful spectacle, and ‘Drive My Car’ is a Japanese film that virtually no one has seen.

As for the other categories, there will be lots of talk about who was snubbed. But the reality is that movies are so bad this year that you can’t really make a case that anyone got snubbed. For instance, Lady Gaga was awful in ‘The House of Gucci’, but that won’t stop her fans from bemoaning her lack of an acting nomination.

The other big story will be the alleged lack of diversity among the nominees. As always, there will be lots of manufactured outrage about how not enough people of color, minorities or artists from “marginalized groups” got recognized by the Academy.

For example, in the wake of the nomination being announced, the New York Times wrote an article “The Diversity of the Nominees Decreased” that lamented the omission of Jennifer Hudson and “her rousing performance as Aretha Franklin” in ‘Respect’ from the Best Actress category. That movie and Hudson’s performance in it were entirely forgettable, and of course, the Times doesn’t tell us who shouldn’t have been nominated instead of Hudson.

The NY Times does give a back handed compliment to the Academy for nominating Jane Campion and Ryusuku Hamaguchi in the Best Director category, which they say has been “historically dominated by white men”. That may be true, but also true is the fact that a in recent history a “white man” hasn’t won the award since Damien Chazelle in 2016, and only two “white men” have won the award in the last decade.

It's pretty clear that the “white men” nominated for Best Director this year, Kenneth Branagh for ‘Belfast’, P.T. Anderson for ‘Licorice Pizza’ and Steven Spielberg for ‘West Side Story’, need not show up for the awards because in the name of diversity there’s no way in hell they’re going to win.

Speaking of the slavish addiction to diversity over merit, for years now the Academy Awards have been slouching towards irrelevance, but it wasn’t until the #OscarsSoWhite protest gained traction after the Oscars committed the sin of nominating only white actors in every category in 2015 and 2016, that the Academy Awards went into hyperdrive on their march to oblivion.

The desperate need to appease the diversity gods has forced the Academy to expand its membership, both through adding more “minority” members and purging older white members. The result has been an Academy that has tarnished its brand, diminished the art of cinema, and lost its audience.

The ratings for the Oscar telecasts have been declining rapidly for years. In 2010, 41 million people watched the Oscar go to ‘The King’s Speech’. In 2021, just over 10 million people watched ‘Nomadland’ win the award.

The Oscar’s ratings for 2021 had dropped 56% from the previous year, and the ratings for this year’s ceremony will undoubtedly drop precipitously again.

The bottom line is that the Academy Awards are in a death spiral of irrelevance. Oscar’s demise is a symptom of the malignant malaise in moviemaking and the collapse of the art of cinema, and the truly atrocious line up of nominated films is undeniable proof of not only the Academy Award’s irrelevance but also the decrepit state of cinema.

 A version of this article was originally posted at RT.

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Looking California and Feeling Minnesota - Episode 46: CODA

On this episode Barry and I reveal our mastery of sign language by silently discussing the Apple TV movie CODA, which stands for 'children of deaf adults'. The discussion hits upon such diverse topics as the luxury of sleeping on a bus, a Hallmark version of Good Will Hunting, deaf actors vs actors playing deaf, and how John McTiernan would make a great deaf heist movie.

Looking California and Feeling Minnesota - Episode 46: CODA

Thanks for listening!

©2021