Five Nights at Freddy's 2

Director: Emma Tammi
Starring: Josh Hutcherson, Elizabeth Lail, Piper Rubio, Freddy Carter, Theodus Crane, Wayne Knight, Mckenna Grace, Teo Briones, Skeet Ulrich, Matthew Lillard, Miriam Spumpkin, Audrey Lynn Marie, Megan Fox, Kellen Goff, Matthew Patrick, David Andrew Calvillo, Grant Feely
Running Time: 104 min.
Rating: PG-13

★★★ (out of ★★★★)   

When the heavily anticipated adaptation of Scott Cawthon's popular video game series, Five Nights at Freddy's hit theaters in 2023, critics and audiences were noticeably split. While the former group seemed appalled they had to sit through PG-13 horror centered around killer animatronic animals, the franchise's fans responded far more favorably, aware of what they'd be getting. If anything, director Emma Tammi incorporated enough elements from the game to please hardcores without alienating mainstream audiences completely unfamiliar with the property, but hooked by its strange premise. 

If the first film was enjoyably flawed and crazy, it shouldn't have come as a total surprise given the nature of this material. But aside from the robotic creatures and an inspired setting, one of its better qualities came in knowing that an 'R' rating wouldn't have necessarily made a difference. Nothing felt cut or excised for commercial-friendly concerns as Tammi delivered an engaging adventure just gory enough to match the story. So you could say it's good news she's back to helm this inevitable sequel, which delivers much of the same, only bigger and messier.   

It's 2002 and two years since Mike (Josh Hutcherson), his little sister Abby (Piper Rubio) and police officer Vanessa Shelly (Elizabeth Lail) survived their showdown with Vanessa's dad and child murderer William Afton (Matthew Lillard) at the abandoned Freddy Fazbear's Pizza restaurant. Since being killed by the spirits of his victims, the legend of Afton's murders has only grown, drawing greater attention to the case and spawning a town horror festival called "Fazfest." But as a now 11-year-old Abby experiences newfound popularity at school, she still mourns the loss of her electronic animal pals Freddy, Chica and Bonnie. 

Giving Abby false hope he'll eventually repair the robots, Mike urges everyone to put what happened behind them, including Vanessa, who continues to emotionally struggle from the impact of her father's crimes. But while Abby secretly returns to the restaurant despite her brother's warnings, a group of ghost hunters arrive at a different nearby Fazbear's location where a little girl named Charlotte Emily (Audrey Lynn Marie) was shockingly murdered in 1982. And when the crew's presence awakens her spirit, the truth about how she's connected to Vanessa comes to light, putting her and Mike in a race against time to save a manipulated Abby, whose resurrected robot friends are ready for another rampage.

The film's opening sequence might be its best, flashing back to a packed, fully operational Freddy Fazbear's during a birthday party decades earlier, revealing what the franchise restaurant looked and felt like in its heyday. After initially assuming this is the now abandoned building Mike worked in as a security guard, we soon realize it's a different location, with atmosphere and attractions unique to that flagship eatery, like the Marionette, a terrifying animatronic conducting the robot animals on stage. 

Baring more than a passing resemblance to Saw's Billy the Puppet, the Marionette is a major presence when young Charlotte is slain despite all her warnings to the restaurant's oblivious, self-absorbed parents. And Vanessa's childhood friendship with this ostracized girl ends up being one of many important details she neglects mentioning to a frustrated Mike as the pair reluctantly start dating. 

Vanessa's selective secrecy, Abby's desire to reunite with Freddy and the gang despite previous events and the use of wireless technology in '82 are hurdles Cawthorne's script must clear, but instead conveniently glazes over at times. Thankfully the ghost hunting "Spectral Scoopers" (played by Mckenna Grace, Teo Briones and David Andrew Calvillo ) do serve a larger purpose while Freddy Carver's brief but creepy turn as a Norman Bates-like security guard proves a highlight. 

Seinfeld and Jurassic Park star Wayne Knight gives the film's most wildly entertaining performance as Abby's condescendingly cruel science teacher Mr. Berg. And the ubiquitous character actor hasn't lost a step, chewing scenery as a jerk authority figure that could have stepped out of an 80's comedy. More than anyone, Knight knows exactly what kind of movie he's in as we wait anxiously to see this sniveling coward get his when Abby proudly unveils her unusual robotics project. 

It's no surprise when Freddy and his friends are again on the loose, but with a soul possessing component that changes the game, giving Elizabeth Lail more interesting places to go with Vanessa. But while she still reels from PTSD stemming from her psychopathic dad, Hutcherson's Mike is fed up, burying the pain and wanting everyone to follow suit, even if he's just barely holding on. And Rubio continues to shine as the precocious Abby, whose loyalty to Chica leads to trouble.  

Playing on a similar technical and visual playing ground as its predecessor, the secondary Fazbear's location actually surpasses that with its hidden passages, trap doors and waterways. Those who hated the first film will probably still despise this, but for everyone else, it's equally fun, giving us an expanded look at the nostalgically cursed Chuck E. Cheese inspired restaurant of the film's title. With allusions to ME3GAN, The Exorcist and Saw, it may incorporate a few more influences, but remains heavily indebted to the video games that spawned it, ensuring more sequels where this came from. 

Rental Family

Director: Hikari
Starring: Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, Akira Emoto, Kimura Bun, Sei Matobu, Misato Morita, Tamae Ando
Running Time: 110 min.
Rating: PG-13

★★★ ½ (out of ★★★★)   

Rental Family features a fascinating premise that takes a bit to come completely into view, but once it does, the film starts asking the same questions we do, with surprising answers. It also provides further proof that the Brendan Fraser comeback is still in full effect, with the actor tackling exactly the type of role we hoped he would post-Oscar win. His likability and charisma makes him the ideal foil for an unusual concept that's even easier to envision as a series with a creative lifespan longer than this picture's designated run time.  

If there's a complaint you could level, it's that there's no way to explore every moral and philosophical consequence of the title service, which does actually exist. But director/co-writer Hikari nearly covers all those bases with characters aren't who they say or think they are, creating their own distorted realities in a misguided attempt to protect those closest to them. And by facilitating lies that cause more harm than the truth ever could, the profiting company proves how the road to hell can really be paved with good intentions. We cringe as manipulative machinations meant to provide comfort cross a line our good natured protagonist grows increasingly uncomfortable with.   

Struggling American actor Phillip Vanderploeg (Fraser) is looking for work while living in Tokyo, where he's resided since starring in a popular toothpaste commercial seven years earlier. Taking thankless roles as he waits for a bigger break, he's approached by Shinji (Takehiro Hira), who owns "Rental Family," a company that hires actors to play stand-in family members and friends for prospective clients. In Phillip, Shinji sees a white American capable of filling a specific niche, and however uneasy the unsuspecting applicant feels about the gig, it's still money.

After a rough first assignment, Phillip's next hired to act as the estranged father of young, half-Japanese girl Mia (Shannon Mahina Gorman), whose single mother Hitomi (Shino Shinozaki) needs him to get her enrolled in a prestigious private school. He'll also split his time as a journalist profiling Kikuo Hasegawa (Akira Emoto), a retired actor with dementia whose daughter Masami (Sei Matobu) wants him interviewed before he completely loses his memory. As Philip forges a bond with each, he realizes how a thin a line he's walking with their emotions, while also recognizing there's a lot left to understand about a culture he already assumed to know. But ultimately, they'll have just as much to learn from him.

Just the thought of a film centered around an American actor doing commercials in Japan immediately invokes comparisons to Bill Murray's character in 2003's Lost in Translation. But the difference is that starring in these ads isn't quite the punchline it was then, with many respected, big name actors now taking these jobs as a side hustle to bank supplemental earnings. Only Phillip isn't one of them, as we quickly get the impression that's his primary source of income and opportunities are drying up, causing shame and frustration.  

Similar to Murray, but less cranky, Fraser excels at conveying that sense of depressive dislocation that takes hold when you're living in another country, or even just in different surroundings. And he does it by subtly projecting in Phillip the awkward look and feel of someone who arrived the previous day rather than seven years ago. So it's easy to see how this unusual job offer would pique his curiosity, allowing him to perform and connect with people who just want to be seen. 

Early on, Rental Family employee Aiko (Mari Yamamoto) shares with Phillip why she does this, rationalizing that it fills an important void for sad, desperate clients while allowing the performers to feel needed in return. On the surface it almost makes sense, but those words will come back to bite her and company owner Shinji, who's living a lie of his own, until the bottom falls out, with damage far exceeding both their pay grades. And much of that is due to Phillip, who's justifiably unable to separate himself from these extremely personal assignments. 

Optimistically hoping to make a difference and for these clients to appreciate him in return, Phillip gets the hang of it when playing groom to a closeted lesbian with traditional, controlling parents who's looking to secretly run away with her wife. But the company's real purpose, aside from making money, comes in enabling people to circumvent tough, necessary decisions by introducing giant lies that bury their problems. And it's only when the facade comes tumbling down that Hikari and co-writer Stephen Blahut's script can fully explore the messy truth. 

While the film's trailers and commercials imply that everything revolves around Phillip's relationship with young Mia, what's most remarkable is how Fraser and a precociously superb Gorman convey their naturalistic father-daughter dynamic with far fewer scenes together than expected. And yet there's this real arc that develops as Mia slowly warms up to the idea her "biological father" may be sticking around this time. 

By hiring Phillip to give Mia some semblance of an adult male figure in her life, the mom's clearly playing with fire. Even worse, he'll inevitably be blamed for whatever goes wrong, even when doing exactly what he's hired for. But the bigger issue is what becomes of Mia once he leaves or if she somehow finds out the truth. It's one thing pulling the wool over unsuspecting adult eyes, but toying with a child's emotions enters unconscionable territory, regardless of intent. 

An equally serious set of challenges accompany Phillip's friendship with the elderly Kikuo, most of which involve boundaries related to his health and care. It's another delicate issue this flawed company can't navigate, with the heat again falling on the one person too empathetic to treat this as a mere performance. At first, we're left guessing how this secondary sub-plot ties into the A-storyline, wondering if the film's time would be better spent focusing exclusively on Phillip's bond with Mia. But we're proven wrong as a moving sacrifice involving Kikuo becomes major catalyst for what occurs in the final act.  

The ending is notable for its restraint, as both Rental Family's clients and employees must come to the realization that this system is delivering the polar opposite of what's promised, hurting nearly everyone in the process. They may not know how absurd their behavior is, but the film does, culminating in a moving catharsis full of surprisingly logical twists that reveal both the best and worst in humanity. That Hikari accomplishes this without pouring on the schmaltz can be attributed to her deft touch, but also Fraser's earnestness, which has rarely served him better.                             

Song Sung Blue

Director: Craig Brewer
Starring: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, King Princess, Mustafa Shakir, Hudson Hensley, John Beckwith, Fisher Stevens, John Belushi, Jackie Cox, Cecelia Riddett
Running Time: 132 min.
Rating: PG-13

★★★ (out of ★★★★)  

Going strictly off the trailer, it's understandable some would assume Craig Brewer's musical drama Song Sung Blue is a Neil Diamond biopic that charts the legendary crooner's ascent to superstardom and relationship with his long suffering spouse. Well, at least until realizing you can't recall a wife or any other aspect of the singer's personal life, leaving us with just the sight of Hugh Jackson in a wig singing "Cherry, Cherry" to go on. But it's actually based on Greg Kohs' 2008 documentary about a married Midwestern couple who performed as an enormously popular Diamond tribute act in the 80's and 90's. And despite its flaws, or maybe even partially because of them, it's the kind of feel good crowd pleaser you can recommend to anyone, regardless of how they feel about the artist. 

Though this isn't focused on the man himself, it's a more accurate reflection of Diamond's impact, popularity and fandom than any traditional biopic could be, with some cheesiness to spare. It also contains alcoholism, depression, a few heart attacks, a couple of car crashes, a bizarre Eddie Vedder impersonation, unplanned pregnancies and a recurring fixation on one of Neil's most overlooked songs. Brewer really piles it on, and yet this works, mostly due to its leads, both of whom play engagingly likable dreamers who pay their dues in biker bars and local fairs before eventually packing arenas across the country. But success is easy compared to what comes next.

It's 1987 when musical impersonator and recovering alcoholic Mike "Lightening" Sardina (Jackman) is set to perform as Don Ho at the Wisconsin State Fair. But when he quits after insisting to play his own material, he meets hairdresser and Patsy Cline double Claire Stengl (Kate Hudson) who suggests he start performing as a Neil Diamond tribute act. It's an idea he initially dismisses until singing with Claire and realizing this idea will only work with them as a duo. 

It isn't long before Mike and Claire begin dating and take their show on the road as the newly christened "Lightening and Thunder," with Claire insisting they open with "Sweet Caroline" after a rough first few shows. They marry just as the band starts gaining traction, selling out shows nationwide and even opening for Pearl Jam. But when a horrific accident leaves Claire fighting for her life and Mike struggling to maintain his own sobriety, they consider the possibility their performing days are over. That is until they plot a comeback, hoping to recapture the spark they once had.             

When we get our first look at Mike singing at an A.A. meeting, your first thought might be that Jackman's too old for this role, his weathered, lived in look seemingly at odds with the buoyant, energetic entertainer at the film's center. And while a similar observation could even be made about Hudson's casting, you'll quickly realize how wrong those assumptions are since it tracks with this story of two middle-aged single parents who've already faced their fair share of personal and professional disappointments. 

It helps that Jackman and Hudson are great singers who share a natural chemistry that's on full display during their early living room duet of "Play Me," which not only solidifies their union as a Diamond themed act, but sets the template for more theatrical performances that follow. One of the smarter touches is Mike's initial rejection of this whole idea, fearing any kind of impersonation would somehow be disrespectful to his hero. 

The charismatic but stubborn Mike also applies a similar logic in refusing to open shows with "Sweet Caroline," a song he admires, but doesn't believe should define a legendary career that's about so much more. And it's a philosophy the film takes to heart, spotlighting Diamond's less heralded "Soolaimon"  alongside his catchiest, most famous hits like "Forever in Blue Jeans," "Holly Holy" and "I Am...I Said." 

Once Mike puts on that sequined jumpsuit and adopts Diamond's Jazz Singer era haircut to team with Claire, it's game on, as Brewer captures the hysteria surrounding a pair that isn't your typical cover act. Fun, welcome supporting turns are also provided from from Michael Imperioli as a Buddy Holly impersonator and promoter turned band guitarist, Fisher Stevens as Mike's dentist/agent and Jim Belushi, whose bus driver becomes their unlikely manager.

One of the better executed subplots involves a touching bond that forms between new step-sisters Rachel (Ella Anderson) and Angelina (King Princess), who find common ground over their respective parents' issues and similarly messed up home lives. Anderson is particularly effective in a meatier role than expected, bringing surprising dimension to what could have become another moody, disaffected teen trope. 

Just when "Lightening and Thunder" strikes, so does tragedy, seemingly over and over again. And it's here where an Oscar-nominated Hudson takes over, believably portraying Claire's mental and physical decline after her entire world is turned upside down. Brewer does lay it on a little thick, and while this chain of events can resemble a surreal stretch of manufactured catastrophes, Hudson is spontaneously authentic enough to sell it. She carries this to the end, nearly pulling double duty in the third act when Mike's misfortunes precipitously grow. 

This has multiple endings before getting to a real one some will like, even if others find themselves wishing for a title card telling us what happened to their real life counterparts. But that's way too restrained for a movie that's all about being as big, emotional and demonstrative as possible, much like the performer himself. But credit Brewer for going all in, never underestimating how ridiculously fun and heartwarming a fairly basic, well acted underdog story can be. And considering how few entertainers have a karaoke ready catalogue better suited to this treatment, Diamond's songs only sweeten the deal.                                                       

The Secret Agent

Director: Kleber Mendonça Filho
Starring: Wagner Moura, Carlos Francisco, Tânia Maria, Robério Diógenes, Enzo Nunes, Gabriel Leone, Roney Villela, Kaiony Venâncio, Maria Fernanda Cândido, Thomás Aquino, Alice Carvalho, Hermila Guedes, Isabél Zuaa, Italo Martins, Igor de Araújo, Laura Lufési, Isadora Ruppert, Luciano Chirolli, Udo Kier, Suzy Lopes, Gregorio Graziosi, Marcelo Valle, Licínio Januário, Robson Andrade
Running Time:161 min.
Rating: R

**This Review Contains Major Plot Spoilers**

★★★★ (out of ★★★★)

Unconventional in nearly every sense, the ambitious Brazilian political drama The Secret Agent will take a while to process when it's over, spanning generations while taking place against a period backdrop that carries massive cultural and historical implications. At its center is an everyman on the run, attempting to evade a government trying to persecute him simply because they can. Disguising and adapting as necessary, he's not exactly alone in this fight, but still forced to look over his shoulder at every turn.  

Though he isn't yet fully aware, this protagonist's already perilous situation will go from bad to worse as director Kleber Mendonça Filho's slow burn thriller subverts all expectations, even when a seriously suspenseful stretch of tension and violence goes sideways in its third act. Hypnotically shot and masterfully acted, it employs an unusual structure that lays its pieces on the table before the whole puzzle comes together midway through. Distinctly human in the quirkiest, most inventive of ways, it seems destined to benefit from repeated viewings after all the dots connect and you look back in appreciation at the tinier details that make it so unique.   

It's 1977 under Brazil's military dictatorship and ex-academic Armando (Wagner Moura) travels back to Recife during Carnival holiday, visiting young son Fernando (Enzo Nunes), who's been living with his late wife's parents. Arriving at a refuge run by former anarcho-communist Dona Sebastiana (Tânia Maria), he adopts the alias "Marcelo" and befriends the building's other political dissidents before being placed in a job at the identification institute. But while the position gives him an opportunity to search for information on his deceased mother, it fails to offer any protection or anonymity, risking exposure to corrupt police chief Euclides (Robério Diógenes) and his thuggish sons. 

Though he's suspicious of Armando, Euclides takes him under his wing, despite having his hands full with an investigation into a severed leg recently found inside a tiger shark. But as Armando tries to lay low, he's informed by resistance leader Elza (Maria Fernanda Cândido) that a contracted hit was put out on him by a powerful, politically connected executive he crossed. With the assassins rapidly closing in, Armando prepares to flee, while in the present day two history students sift through audio recordings and newspaper clippings in an effort to uncover what happened to him decades ago.  

The opening minutes immediately grab hold as Armando pulls his VW Beetle into a remote gas station where he sees a dead man lying on the ground covered in cardboard, casually dismissed by an attendant who claims to have contacted authorities days ago. That a corpse pumped full of bullets is viewed as such an innocuous, commonplace annoyance by every passerby but the sad eyed Armando is exactly the point, if not eerie foreshadowing. 

When police do arrive, it's not for that, but unfounded suspicions about Armando, who they briefly interrogate, expecting a monetary "donation' in return. With this, the tension builds in an oppressive heat you can almost feel and smell, not only setting the mood for what follows, but introducing us to the bearded Armando, who we still know nothing about. Projecting a cool, calm demeanor, he flies just under the radar, saddled with the unfortunate luck of still somehow drawing attention wherever he goes. 

Armando's hometown return is accompanied by a barrage of the area's sights and sounds, from the bright yellow pod-like phone booths to the nightmare inducing Carnival costumes he can't seem to shake. "Haunted" is the best adjective to describe his justifiably paranoid state of mind that's briefly eased by safe house residents like Angolan Civil War refugees Thereza Vitória (Isabél Zuaa) and Antonio (Licínio Januário) and single mother Claudia (Hermila Guedes). 

In a cast large enough to fill a medium sized arena, it's Tânia Maria's scene stealing turn as the house's chain smoking, grandmotherly-like Dona Sabastiana that leaps off the screen, with the 79 year-old actress investing her character with an unmistakable mix of spunk, humor and sage wisdom. Regardless of backgrounds or cultures, everyone's met someone like her, making it even more perplexing she was overlooked at awards time for the kind of blunt, disarmingly entertaining performance voters usually reward.  

One of the odder touches Filho employs are these Tarantinoesque grindhouse diversions that serve a greater thematic purpose than you'd expect from scenes that clash so harshly with the film's meditative tone. The public's lurid fascination with the shark incident may be a distraction, but it's the sort of one this whole narrative is built on, showing the bizarre lengths this military dictatorship will go to cover crimes and bury evidence. Because of it, the regime's brutality recedes into the background, replaced instead by a wacky urban mystery. 

The same can be said for the more jarring, fantastical park sequence that comes later, which could just have easily been lifted from a B-horror movie like Attack of the Killer Tomatoes. And again the ridiculousness is intentional as Filho shows how those in control write the playbook, anticipating that everyone will swallow whatever misinformation is shoveled out. Some will while others won't, but the latter group hardly matters since they can't fight back anyway. And no one knows this better than the arrogantly crooked Euclides, who moves past his initial suspicions of Armando to take him under his wing. But the dirty chief's on a cruel power trip that becomes more blatant with his harassment of Jewish Holocaust survivor Hans (Udo Kier in his final role), much to Armando's veiled disgust. 

Stuck between a rock and hard place, Armando needs to humor the chief somewhat, both to protect his identity and possibly earn a degree of trust and cover. But even he underestimates just how widespread and corrosive the corruption is, trickling down to even the most local levels of government. And Euclides isn't even the Big Bad, ranking relatively low on a food chain that extends to the very top, where Armando's greatest threat resides, plotting to take him out. 

The bond Armando shares with son Fernando and theater projectionist father-in-law Sr. Alexandre (Carlos Francisco) is a tragic one, due mostly to the loss of the woman they all loved and mother this young boy fears he's already forgetting. They can't truly be a family with her gone, especially as this deadly threat hangs over Armando, keeping him a half step away from another fake passport and new identity. 

The film transforms when Elza records Armando's testimony and we flash back to the chilling clash he has with a regime influenced executive (Luciano Chirolli) over his scientific research. We see how the escalating feud grows uglier and more personal, culminating in a dinner confrontation that features a brief but unforgettably explosive turn from Alice Carvalho in her only full scene as the late Fátima.  

Everything goes south when stepfather and son hitman duo Augusto (Roney Villela) and Bobbi (Gabriel Leone) arrive, chaotically compromising Armando's escape with a reckless gunman (Kaiony Venâncio) who eyes his target. What unfolds next has caused audience debate, with Filho earning No Country For Old Men comparisons for his decision not to show Armando's eventual fate, revealing the death secondhand through a newspaper article discovered decades later by history student Flavia (Laura Lufési). But it works, mostly for making a larger thematic point about how history gets written or sometimes even rewritten by the winners. 

The treatment of Armando's murder as an afterthought may not carry the dramatic electricity many envisioned as the film's action ramps up in the final act, but it isn't intended to. Poetic tragedy comes in the burial of his story, now relegated to a forgotten tabloid piece about some "spy" or "secret agent" gunned down in the street. And it would take nearly fifty years for someone to care enough about uncovering the truth to track down the little boy it affected, in ways even he still can't fully comprehend as an adult. But what's saddest in a film so heavily reliant on the relationships between fathers and sons is how the middle-aged Fernando now has no memory of a man his life once revolved around, however briefly.  

That Moura also plays this present day version of Fernando in addition to Armando's various incarnations could have come across as a cheap gimmick in the hands of a lesser accomplished actor. But he's equally believable as the grown son, bringing the same authenticity to this role as he does his quietly compelling performance as Armando, marking a rare achievement in immersive subtlety free from unnecessary theatrics. 

As Fernando, the magnetic Moura is equally contained, but conflicted, with the physician struggling to process the information he's getting about a father he hardly remembers, much like Armando's faded recollection of his own mother. But instead of a paper file, he's left with Flavia's flash drive as the last remaining record of a conspiracy that's come and gone. It's likely even she'll be moving on to something else before long, leaving Armando's story in the hands of the one person left who's able to tell it. 

Whether Fernando will want to know more or can even bring himself to is questionable, but at least something did survive that can't be taken away. In this case it's a core memory that follows him to this day and remains untouched by whatever lies and propaganda were spread a generation earlier. The result is a brilliant framing device sure to invoke deeper analysis about time, memory and just how easily the past gets brushed under the rug when no one's looking.  

Carried by a soul stirring lead performance and a wildly eclectic cast of colorful personalities that transcend cultural and cinematic barriers, this is as far as it gets from Oscar season homework. It's also the kind of epic you could easily imagine playing in theaters during the late 70's/early 80's era it takes place, perhaps even sharing screens with the film's heavily mentioned Jaws. Seemingly transported from a time when stories of its ilk wouldn't fall through the cracks or be cynically misinterpreted, The Secret Agent ends on a final coda that separates fact from fiction, and everything else we've lost in between.      

Burning Questions From The 2026 Oscars

Conan as Aunt Gladys?

 

Shouldn't Weapons have been nominated for more than just one Oscar?

 

Did that opening just give the whole movie away?

 

Aunt Gladys playing ping pong?

 

Aunt Gladys in KPop Demon Hunters?

 

Was that opening sketch an early sign Amy Madigan would win?

 

Didn't you know Conan wouldn't waste any time cracking a joke about Chalamet's ballet insult?

  

Wasn't he right about Ted Sarandos having never been to a theater? 

 

Is it safe to assume that won't change now since Netflix isn't buying Warner Bros.? 

  

Isn't it the sign of a good joke when the audience gasps with discomfort?

 

Did Conan's coronation ceremony make you want to see him actually win a Oscar?

 

Did you remember that Zoe Saldaña won Supporting Actress last year?

 

Actually, that one was kind of memorable wasn't it?

 

Is she aging in reverse?

 

Was everyone prepared to get that category wrong? 

 

Was everyone prepared to get every category wrong?

 

Did every Oscar prognosticator breathe a sigh of relief when Madigan won? 

 

Wasn't it a given she'd give an entertaining speech? 

 

Was Conan's "Let's see him put his name in front of that" the line of the night?

 

How about his story about telling his wife he's the same age as Brad Pitt?  

 

Any doubt KPop Demon Hunters would take Animated Feature? 

 

Did they try to play those winners off quickly or what?

 

Was that because Madigan went long? 

 

Was an upset winner for Animated Short the last thing anyone needed for their Oscar scorecard?

 

Was this the earliest in the show we've ever gotten a musical performance? 

 

Wasn't that whole Sinners thing kind of wild?

 

Did you hear how into it the audience was? 

 

Would it have gotten your attention if Frankenstein lost Costume Design to Sinners? 

 

Or Makeup to...The Smashing Machine?

 

Who expected the first bleep of the night to come in the Hair/Makeup category? 

 

Did you expect cast members to introduce each of their own film's casting directors?

 

Conflict of interest much? 

 

But wasn't it kind of great? 

 

How about that ovation for The Secret Agent? 

 

Remember how sure everyone seemed of a category we've never had before?

 

Should we be a little more careful when predicting this one next year?

 

Did you see it as an ominous sign that Sinners lost in a category it was thought to be locked for? 

 

Did that bode well  for OBAA's Best picture chances?

 

A TIE????!!!!

 

How do we count this on our ballots? 

 

Did you notice how careful Kumail was to reassure us it wasn't a joke after what we saw happen with Moonlight and La La Land?  

 

And wasn't he right about the irony of the Live Action Short category taking twice as long now?

 

Retracting the winner's mic? Really?

 

Is Chalamet ever going to live this whole ballet thing down?

 

Unless he wins the Oscar, apologizes and dedicates it to dancers worldwide? 

 

Should he know it's bad when winners are somehow incorporating it into their acceptance speeches?  

 

Did you remember Kieran Culkin won Supporting Actor last year?

 

Didn't you just know Sean Penn wouldn't be there?

 

"Or didn't want to?"

 

Wasn't that Casablanca skit with Sterling K. Brown pretty clever? 

 

Will it ever get tiresome seeing Paul Thomas Anderson accept a writing Oscar?

 

But isn't it about time for a directing one?  

 

Would Ryan Coogler somehow losing Original Screenplay doom Sinners for the rest of the night? 

 

Wasn't it great to see Billy Crystal on an Oscar stage again?

 

Could it possibly be under sadder circumstances?

 

Did you forget just how many popular, widely beloved titles Rob Reiner directed?

 

Did you spot Fred Savage on stage?

 

Wasn't that tribute an appropriate segue into the In Memoriam segment?

 

Is "appropriate" not usually the word we'd use to describe how they handle this portion of the show?  

 

Isn't it scary the names we lost his past year? 

 

Diane Keaton, Catherine O'Hara, Val Kilmer, Robert Duvall, Robert Redford?  

 

Did they really just leave out James Van Der Beek?!

 

Eric Dane?

Brigitte Bardot? 

 

How much longer are they going to keep pulling this?  

 

Aren't you just waiting to hear the producers' lame excuse...again? 

 

Were you about to lose it until remembering they did include Gene Hackman in last year's segment?   

 

Did anyone else have problems understanding Barbra Streisand?

 

Wait, doesn't everyone call her "Babs?"

 

Not a question but...Grogu!

 

Isn't Avatar always good for an easy Visual Effects win?

 

They really want to get this thing finished by 10:30 don't they?

 

Didn't Grogu try his best to clap?

 

Why does the upcoming The Mandalorian and Grogu movie feel four years too late?

 

Remember when that Kimmel guy hosted the Oscars?

 

Did its title alone sway members to vote for Mr. Nobody Against Putin? 

 

Did the lack of political speeches come to a screeching halt with this category?

 

Isn't F1 by far the weakest of the Best Picture nominees?

 

Am I the only one who doesn't get the deep affection for Bridesmaids? 

 

But wasn't that bit with the notes funny?

 

Did Maya Rudolph have the best opening line with "Earlier today while I was counting my money?" 

 

Did you expect the Academy President to look like a cross between Anna Camp and Brittany Snow?

 

Lewis Pullman does really look a lot like his dad doesn't he?

 

Did OBBA's editing win lock its Best Picture Oscar?

 

Or maybe not after that Sinners cinematography upset?

 

Can you believe a woman's never won in this category before now? 

 

Didn't Train Dreams deserve it?

 

Isn't "Golden" inbsanely catchy?   

Javier Bardem doesn't hold back does he? 

 

Did anyone remember that Lionel Ritchie won an Original Song Oscar for White Knights?

 

Or recall the last time Diane Warren wasn't nominated?

 

They really didn't want that "Golden" songwriter to speak did they?

 

Weren't the producers downright militant in cutting time this year?

 

Doesn't it feel good to finally say PTA has a directing Oscar? 

 

Wouldn't Zendaya and Pattinson in a PTA movie be intriguing? 

 

Isn't it the truth that Adrien Brody saved last year's show from running short? 

 

Has the Best Actor race ever been this tight? 

 

Okay, maybe not? 

 

Didn't Michael B. Jordan's mom look proud? 

 

Didn't he give a classy speech of appropriate length? 

 

But can we please keep Will Smith's name out of our mouths at the Oscars? 

 

So maybe it didn't end by 10:30 but they still made really good time didn't they? 

 

Is it hard for anyone to forget Mikey Madison beating Demi Moore last year? 

 

Was it even possible to imagine a scenario where Jessie Buckley loses? 

 

Are there any actors who can't sing?

 

Didn't the best film win for a change? 

 

How about that impressive 1975 Best Picture nominee list PTA rattled off? 

 

Isn't he right about Chase Infiniti being the heart of that movie? 

 

How was she not even nominated?  

 

But isn't it cool how she was named after two of 1995's most memorable movie characters?  

 

Was Marty Supreme just completely shut out? 

 

How about the show's ending skit? 

 

Was that even more of a spoiler than the opening?

 

Or maybe not, if you didn't know which nominated picture they were spoofing? 

 

Does appointing Conan as "Host For Life" actually not sound like such a bad idea? 

2026 Oscar Predictions

Over the past decade or so the Oscars have been getting harder and harder to predict. You can chalk it up to the preferential ballot system or an influx of new voters, but the shift is undeniable. And though we're free to speculate how we got here, there's no denying the fact there's never been a year quite like this one, where every major category is up for grabs. Picture, Director, Actor, Supporting Actor and Supporting Actress could all be decided by a coin flip, which should both excite and frustrate viewers following along with their scorecards. 

There's also an unprecedented scenario where a film championed as the clear favorite all season suddenly feels vulnerable as we head into the home stretch. Sinners may have earned a record breaking 16 nominations but One Battle After Another was always the film to beat, at least until very recently, further proving just how important it is to peak at the right time. Or in this case, the moment voters start receiving their ballots. So even if its nomination tally is out of hand, there's no denying the outpouring of support for Sinners, even if I find OBAA to be a far more deserving winner and legitimately the year's best.  

Had votes been counted a month or two ago this would a completely different conversation, but any perceived bump OBAA got from real world events was brief, opening the door for Sinners across numerous categories previously thought to be out of reach. But is it too late? We'll soon find out the answer to that and whether early frontrunner Timothée Chalamet did really sabotage his Best Actor chances when Conan O' Brien returns to host the show this Sunday. 

Statistics always play a role but they've never felt less important than in contests as close as these. Sometimes it's best to just follow your gut, buckle up and enjoy the ride since it's looking like we could have another Crash vs. Brokeback or Moonlight vs. La La Land on our hands. Below are my predictions, along with an analysis of the top races, including that brand new casting category.           

 

*Predicted Winners   

 

ANIMATED FEATURE
Arco
Elio
KPop Demon Hunters
Little Amélie or the Character of Rain
Zootopia 2

ANIMATED SHORT
Butterfly
Forevergreen
The Girl Who Cried Pearls
Retirement Plan
The Three Sisters

DOCUMENTARY FEATURE
The Alabama Solution
Come See Me in the Good Light
Cutting Through Rocks
Mr. Nobody Against Putin
The Perfect Neighbor

DOCUMENTARY SHORT
All the Empty Rooms
Armed Only With a Camera: The Life and Death of Brent Renaud
Children No More: Were and Are Gone
The Devil Is Busy
Perfectly a Strangeness

INTERNATIONAL FEATURE
The Secret Agent (Brazil)
It Was Just an Accident (France)
Sentimental Value (Norway)
Sirat (Spain)
The Voice of Hind Rajab (Tunisia)

LIVE ACTION SHORT 
Butcher's Stain
A Friend of Dorothy
Jane Austen's Period Drama
The Singers
Two People Exchanging Saliva 

FILM EDITING
F1
Marty Supreme
One Battle After Another
Sentimental Value
Sinners

SOUND
F1
Frankenstein
One Battle After Another
Sinners
Sirat

PRODUCTION DESIGN
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
Sinners

COSTUME DESIGN
Avatar: Fire and Ash
Frankenstein
Hamnet
Marty Supreme
Sinners

ORIGINAL SCORE
Bugonia
Frankenstein
Hamnet
One Battle After Another
Sinners

ORIGINAL SONG
"Dear Me" (Diane Warren: Relentless)
"Golden" (KPop Demon Hunters)
"I Lied to You" (Sinners) 
"Sweet Dreams of Joy" (Viva Verdi!)
“Train Dreams” (Train Dreams)

MAKEUP AND HAIRSTYLING
Frankenstein
Kokuho
Sinners
The Smashing Machine
The Ugly Stepsister

VISUAL EFFECTS
Avatar: Fire and Ash
F1
Jurassic World: Rebirth
The Lost Bus
Sinners

CINEMATOGRAPHY
Frankenstein
Marty Supreme
One Battle After Another
Sinners
Train Dreams

ADAPTED SCREENPLAY
Bugonia
Frankenstein
Hamnet
One Battle After Another 
Train Dreams

Though nearly every "major" race is tight, we can at least exclude this one, which is among the few where OBAA isn't competing against its top adversary. Paul Thomas Anderson's script has been locked as the screenplay winner for months having swept Critics Choice, Golden Globe, BAFTA and WGA. It also hasn't wavered or shown the same holes here as in other categories, mostly due to a lack of competition. As the most prestigious and literary of the bunch, Hamnet stands the next best chance, followed by Frankenstein, Bugonia and Train Dreams, but all are real long shots in comparison. Enjoy this predictability while it lasts.        

ORIGINAL SCREENPLAY
Blue Moon
It Was Just an Accident
Marty Supreme
Sentimental Value
Sinners

Sinners is on a similar screenplay trajectory with Ryan Coogler securing Critics Choice, BAFTA and the WGA, making a loss here virtually impossible, even on this night. It Was Just an Accident and Sentimental Value are underdogs that don't pose a serious threat and we've since come a long way from Marty Supreme being considered a frontrunner. Blue Moon is highly respected, but it boasts only one other nomination in Ethan Hawke. So at the end of the first round, you can say that OBAA and Sinners tie with a screenplay win each.         

CASTING
Hamnet
Marty Supreme
One Battle After Another
Sinners
The Secret Agent

Remember how excited everyone was when the Academy announced they'd finally be instituting a casting award? It's safe to say we all were until seeing the actual nominees and realizing that voters merely cut and pasted half the Best Picture category. Maybe part of the problem (aside from us lacking a concrete explanation of the qualifications) is that great casting is just so subjective and indeterminable, with even some classic films managing to succeed despite the lack of it.    

The standout here is Marty Supreme, as casting directors filled major and minor roles with a plethora of outside the box performers who were perfectly suited for their parts, trained actor or not. But since this is mostly a popularity contest, Sinners' recent ensemble SAG win should help that close the deal. It's a shame voters managed to blow such a promising opportunity, opting instead to insert the same group of titles we'll be bombarded with all night.        

SUPPORTING ACTRESS
Elle Fanning (Sentimental Value)
Inga Ibsdotter Lilleaas (Sentimental Value)
Amy Madigan (Weapons)
Wunmi Mosaku (Sinners)
Teyana Taylor (One Battle After Another)

This extremely close three-way race might be the toughest to call of any category. Taylor has the Globe, Mosaku won BAFTA and Madigan's back in the forefront with her surprising SAG win. While all three leap through the screen with their performances, the latter has the showiest role of the bunch as Weapons' unforgettably creepy Aunt Gladys. Plus she's an industry vet fellow actors will want to reward for decades worth of great work, as proven by the response she drew for the SAG speech. Then again, she's the movie's sole nomination, could face genre bias and voters might decide to overlook her in favor of an up-and-comer, as they did with Demi Moore last year.  

OBAA's Taylor would have been considered a lock just a couple of months ago, but she actually hasn't fallen that far, making it a safe bet her brief but powerful turn as Perfidia is still at the forefront of voters' minds. Sinners' Mosaku went from not even being on the radar for a nod to potential spoiler who's now suddenly riding a wave of momentum heading into the ceremony. If she can come through we'll at least have a pretty good idea how the film's chances stand in bigger categories. 

Sentimental Value actresses Fanning and Ibsdotter will get a "thank you for coming," as they're unlikely to earn enough votes to make any serious dent, perhaps even cancelling each other out. A race this close barely favors Madigan, but a lack of precursor wins and Weapons' absence in the Best Picture category gives me pause. Still, that recent SAG victory puts her over the top.                    

SUPPORTING ACTOR
Benicio Del Toro (One Battle After Another)
Jacob Elordi (Frankenstein)
Delroy Lindo (Sinners)
Sean Penn (One Battle After Another)
Stellan Skarsgård (Sentimental Value)

Early favorite Skarsgård doesn't even seem to be in the conversation anymore, Elordi never was and a fantastic Del Toro suffers from having to split votes with his OBAA co-star. That leaves us with Penn and Lindo in one of the more highly anticipated contests of the night. For all the hype surrounding Lindo, you haven't heard much about the actual performance, which didn't feel award worthy to me, at least on an initial viewing. But this is a career achievement prize above all else and there's no better way to honor a great, highly respected actor in his seventies who's inexplicably gone decades without a nomination until now. 

Lindo's narrative may be too too strong to ignore, but so is Penn's disturbing, explosively bizarre performance as Colonel Steven J. Lockjaw, which ideally fits the template of a supporting Oscar winner. While the actor isn't widely beloved and will likely be skipping the ceremony, that didn't stop voters from awarding him twice before and won't again now. The only question left is whether this flood of adoration for Sinners is enough to power Lindo over the finish line. Maybe, but Penn's recent SAG win raised his stock considerably.          

ACTRESS
Jessie Buckley (Hamnet)
Rose Byrne (If I Had Legs I’d Kick You)
Kate Hudson (Song Sung Blue)
Renate Reinsve (Sentimental Value)
Emma Stone (Bugonia)

Those speculating that The Bride's box office failure could spell trouble for Buckley should remember it was released after ballots were already turned in. But it's not like this would make a bit of difference anyway since she's the lockiest of locks, winning every precursor imaginable since the season started. Globes, Critics Choice, BAFTA, SAG. So she could have starred in a Norbit sequel and it still wouldn't have hurt her chances. It's just the right role at the right time for the right actress, creating an overwhelming consensus that none of her fellow nominees can compete with. It's also the only performance here that doesn't come down to a matter of taste, with even those lukewarm on the film praising her tremendous work in it. 

Rose Byrne is probably in second place, but the movie's underseen, causing her performance to fly under the radar, with most only talking about how trying it is to sit through. Two-time Oscar winner Stone would be my personal pick for her complex turn as an abducted CEO in the mind blowing Bugonia, but with Buckley in the race, she won't be getting a third statue. Hudson's nod for Song Sung Blue feels reminiscent of Sandra Bullock's for The Blind Side, but minus the win. This makes Reinsve the odd woman out for Sentimental Value, but given the competition, that's nothing to be ashamed of. Buckley has it in the bag.         

ACTOR
Timothée Chalamet (Marty Supreme)
Leonardo DiCaprio (One Battle After Another)
Ethan Hawke (Blue Moon)
Michael B. Jordan (Sinners)
Wagner Moura (The Secret Agent)

It's not voters' jobs to "humble" actors but sometimes they just can't help themselves, even when only the quality of a performance should matter. Chalamet was probably rehearsing his acceptance speech up until a couple of weeks ago when Michael B. Jordan so shockingly won the SAG that even he couldn't believe it, appearing genuinely stunned. 

Combine that with Chalamet's campaign flying off the rails, Marty Supreme losing momentum and just the overall vibe in that room after Jordan won suggests he's no longer the underdog for his dual role as twins Smoke and Stack. Did Chalamet really just cost himself the Oscar? Well, he's probably not winning, although there's no way to know if Jordan would have closed the gap anyway. The shame is that Chalamet's performance is better, but he'll now have to wait his turn like others before him. And you can bet his publicist will be keeping him on a shorter leash next time. 

The idea that the two fronrunners will somehow cancel each other out and The Secret Agent's untested Wagner Moura will swoop in to take the trophy is wishful thinking at best. Blue Moon just hasn't had enough of a presence outside Hawke's performance to give him a chance, with his deserved first nomination feeling like an award in itself. Leo was always top of mind for his stoned out, washed up revolutionary in OBAA without ever really being considered a strong possibility to win. The safe money's on Jordan, who's someone very few would have predicted even just last month.               

DIRECTOR
Paul Thomas Anderson (One Battle After Another)
Ryan Coogler (Sinners)
Josh Safdie (Marty Supreme)
Joachim Trier (Sentimental Value)
Chloé Zhao (Hamnet)

Here's one category Sinners hasn't been able to shake up, if only because the groundswell of support for Paul Thomas Anderson winning his long overdue Academy Award seems unanimous, regardless of what happens elsewhere. PTA sweeping all four major precursors isn't just an indicator that OBAA is still holding strong, but that Ryan Coogler hasn't been able to get a foothold into this race despite all his film's other accolades. 

Of course, we could have a Picture/Director split, but even that's unlikely to stop PTA from walking away with an honor he should have received at least three or four movies ago. OBAA also struck a universal chord, revealing even more dimensions to his talent and connecting with the mainstream audiences in a way few would have expected. Even better, this isn't some "make up" Oscar, as most wouldn't hesitate placing it toward the top of his filmography. 

Aside from Coogler, the rest of the nominees don't really stand a chance since you could have easily changed out any of the three remaining directors and gotten the same result. If PTA somehow loses this to Coogler (which is possible) you can kiss OBAA's chances at the big prize goodbye. Conversely, if he wins, that still doesn't ensure a Best Picture victory. It's a tough spot to be in.             

BEST PICTURE
Bugonia
F1
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
The Secret Agent
Sentimental Value
Sinners
Train Dreams 

Since we have to cancel out any film without a Director nomination, we'll say goodbye to my Bugonia, F1 (a requisite big box office inclusion), Frankenstein, The Secret Agent and an underappreciated Train Dreams. Marty Supreme is amazing but its momentum stalled along with Chalamet's. Hamnet and Sentimental Value are arthouse endeavors lacking the broad appeal to break through, even as the former still sits comfortably in third place.  

On paper, this race should have been over months ago, but many mitigating factors are at play, a few of which only came into view within the past couple of weeks. OBAA impressively won PGA, DGA and WGA, failing only to clinch that SAG Ensemble, which went to a surging Sinners. But unfortunately no film has ever won Best Picture on just that victory alone. 

Further working in OBAA's favor is that only three films in history managed to lose the big one after winning three of the four major guilds. That's a glaring stat but also somewhat misleading when you consider those losses predate the Academy's preferential voting system, which would seem to favor a popular crowd pleaser like Sinners. A combination of industry support following that unfortunate BAFTA incident and the enthusiastic reaction to those SAG wins have helped give it a huge bump at crunch time, only increasing its chances at defying the odds. 

While firsts happen and it remains entirely possible all previously held stats can just break, OBAA dominated the season, leaving little time for Sinners to stake its claim. But it's still feasible Oscar voters' minds were made up and one SAG Ensemble win wasn't going to make a difference. So I'm reluctantly going with OBAA, acknowledging that chance Sinners could very well pull off the upset. 

Train Dreams

Director: Clint Bentley
Starring: Joel Edgerton, Felicity Jones, Kerry Condon, William H. Macy, Will Patton, Nathaniel Arcand, John Diehl, Paul Schneider, Clifton Collins Jr., Alfred Hsing
Running Time: 102 min.
Rating: PG-13

★★★ ½ (out of ★★★★)  

Clint Bentley's unforgettable Train Dreams is about a seemingly ordinary man plagued by the feeling something terrible will happen. Though he has a dangerous job, it isn't risky in ways we'd typically expect, even as death surrounds him at every turn, waiting indiscriminately for the next opportunity to strike. Without so much as a hint of manipulation, the film deliberately unfolds, and while hauntingly beautiful to look at, there's also a constant sense of dread hanging over the story that just won't go away. And it isn't long before we discover why. 

Its measured, evocative pacing may prompt complaints from detractors claiming the film "doesn't go anywhere" or lacks a narrative drive, but those fortunate enough to get on its wavelength will discover the most powerful of cinematic experiences. Based on Denis Johnson's 2011 novella of the same title, it features a protagonist who could easily represent the hundreds of thousands who worked, lived and struggled to survive in a previous era, only to be forgotten by history. But through him, Bentley's able to show how everyone's stories and contributions can carry over generations, whether they're openly acknowledged or not.  

It's the start of the twentieth century when orphaned child Robert Grainier (Joel Edgerton) arrives in Idaho on the Great Northern Railway, eventually dropping out of school to work as a railroad laborer. But his fortunes change when he meets Gladys Olding (Felicity Jones) at church and they form an instant connection, marrying and settling in a riverside log cabin with new baby daughter Kate. 

When Robert takes a construction job with the Spokane International Railway, he's not just dismayed by long stretches away from his family, but traumatized after watching the brutal, senseless murder of a Chinese crew member (Alfred Hsing). Haunted by nightmarish visions of the immigrant, he takes up seasonal logging work, which exposes him to colorful personalities like ornery fellow logger Arn Peeples (William H. Macy). Witnessing further tragedy on the job and facing financial hardship, Robert makes plans with Gladys to build a lumber mill and work closer to home. But the worst still awaits, unexpectedly altering his life's trajectory.

A character study from birth to death, Bentley's script (co-written with Greg Kwedar) and direction is effortless in capturing the serene rhythms of everyday, whether that's scenes of Robert and Gladys marking the location of their future home or the inescapable darkness that descends upon him in the film's second half. It's an event of such magnitude that it doesn't seem real for a shattered Robert who's constantly alone, regardless of whether he has any company. And even in the few precious moments he's able to appreciate what surrounds him, he sees a world he no longer recognizes or fits into.

Edgerton delivers the best work of his career, carrying lengthy, languid sequences while silently registering the emotional agony across Robert's bearded, aging face. When given a screen partner to bounce off or react to, he still manages to convey a sense of complete isolation, becoming this withdrawn observer to his own existence. But if the literary voiceover is correct in assuming the best anyone can hope for is to be remembered, there's still more than a few people willing to vouch for him. 

Most memorable is the gruff, sarcastic Arn, who's played by an unrecognizable William H. Macy in a transcendent performance that's short on minutes but immeasurable in impact. Hiding behind a thick, gray mustache, smoking his pipe and speaking with a distinctive backwoods drawl, he's a brutally honest storyteller with the heart of a philosopher. And while a whole separate film could focus entirely on him, that would undermine his primary purpose as the kind of kooky, fascinating character who exits our lives as quickly as he appears, leaving behind a lasting impression along with some indispensable nuggets of wisdom.  

Time stands still as Robert attempts to make sense of it all, sleeping in the rain while tormented by his own guilt at being unable to stop the unstoppable. Sympathetic shop owner Ignatius (Nathaniel Arcand), scrapes the logger up at his lowest, helping him reenter a society far different than anything he's known. Faced with the cruel reality his logging days have passed, he'll find work as a local carriage driver, meeting a kind free spirit in Forest Service surveyor Claire (Kerry Condon). 

Eerily invoking a great American novel, Patton's narration is soothing, unobtrusive and plain spoken all at once, as if hearing an echo from the distant past. And in painting a vivid portrait of the Pacific Northwest with natural light, Adolpho Veloso's cinematography evokes memory and nostalgia that's only accentuated by a hypnotizing score from The National's Bryce Dessner. All these elements converge to create an ethereal aesthetic that earns justifiable comparisons to Terrence Malik's Days of Heaven and The Tree of Life. 

Despite many deserved accolades, Bentley's film has managed to fly under the radar in the midst of showier competition, which isn't an indicator of its quality. If anything, a muted reception is more appropriately aligned with the contemplative journey depicted on screen. Quietly anchored by an actor who hasn't gotten nearly enough accolades, it feels like a micro masterpiece observed over a single lifetime and somehow squeezed into 102 minutes. But what a trip it is. Filled with joy, despair, hope and tragedy, the film's final few minutes hit hard, lingering in our minds long after the credits roll.