Road House (2024)

Director: Doug Liman
Starring: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams, B.K. Cannon, Joaquim de Almeida, Austin Post, Lukas Gage, JD Pardo, Hannah Lanier, Kevin Carroll, Darren Barnet, Travis Van Winkle
Running Time: 121 min.
Rating: R

★★★ (out of ★★★★)  

Whenever a cult classic is reimagined with modern sensibilities, response among devoted fans tends to be harsh, as so much of their appreciation stems from their memories watching it. Regardless of actual quality, 1989's Road House firmly fits in that category, where the viewing experience itself supersedes any perceived flaws, serving to make the inevitable remake that much harder to crack. Luckily, director Doug Liman understands this, or maybe more importantly, the original's place within the cheesy 80's action movie pantheon. 

To that end, this rebooted Road House is everything it should be, delivering the kind of trashy, over-the-top fun we don't get nearly enough of in the genre. You can actually understand why Liman's upset this skipped theaters and went straight to streaming since there's good reason to believe it could have been a big commercial hit. With the exception of some occasionally distracting CGI and a video game aesthetic, it's ridiculously fun, exciting entertainment that blazes its own trail, alleviating any concerns this remake would damage nostalgic feelings for its predecessor. 

When former UFC middleweight fighter Elwood Dalton (Jake Gyllenhaal) is asked by business owner Frankie (Jessica Williams) to work as a head bouncer at her Florida Keys roadhouse, he initially rejects the offer. It's only after a botched suicide attempt that he reluctantly agrees, arriving in Glass Key to the appropriately named bar, "The Road House." Overrun with gangs and nightly brawls, the seemingly mild-mannered Dalton tries to keep the peace, until realizing he'll need to get his hands dirty, delivering a brutal beatdown that sends a group of biker thugs to the E.R.

At the hospital, he meets Ellie (Daniela Melchior), a doctor who warns him just how deep the violence and corruption runs in this coastal community. So it isn't long before Dalton finds himself being hunted by yuppie crime boss Ben Brandt (Billy Magnussen) and his incarcerated father's psychotic enforcer Knox (Conor McGregor). As they look to add Frankie's bar to Brandt's criminal property portfolio, Dalton remains haunted by a traumatic event in his past. Pushed to the limit, he'll have to decide whether to skip town or stay and fight, despite the danger it could mean for him and everyone else.

At one point, a member of the gang describes Dalton as having the disposition of Mister Rogers, which does accurately sum up Gyllenhaal's zen-like take on a character that's very far removed from its original incarnation. Overtly alluding to classic Westerns in both dialogue and setup, this lone drifter unassumingly rolls in and surveys his new surroundings, striking up a friendship with precocious teen Charlie (Hannah Lanier) who co-runs a small bookstore with her dad Stephen (Kevin Carroll). 

The opening hour is terrific, as Liman immerses us in the local color of Glass Key, or more specifically The Road House itself, which would come across as a fun place to hang if brutal fights didn't spontaneously erupt every two minutes. Dalton never really loses his cool, at least not exactly, remaining calm and polite even when he's pushed, transforming into this ass-kicking machine only when necessary. And even then, he doesn't take a whole lot of pride in doing it. 

Liman's biggest coup is his casting of Gyllenhaal, who has the unenviable task of stepping into his late Donnie Darko co-star Patrick Swayze's iconic role. On paper, it's an odd fit, but the actor responds with a quirky and menacing turn that fits the material like a glove, arguably giving his most absorbing performance since Nightcrawler. Through a few nightmarish flashbacks, we already have an idea why Dalton's carrying all this guilt and emotional baggage. The anticipation is in waiting for the moment he has enough and finally snaps, unleashing the dark side of himself he's struggled to suppress. 

Given how physically dominant Dalton is, he's more likely pass as a full fledged superhero than MMA competitor, but no one's going into this expecting strict realism. We're too busy marveling at the action sequences, along with Garrett Warren and Steve Brown's jaw dropping stunt/fight choreography. If forced to draw comparisons, the whole thing has a relentless energy that may remind some of the Crank films, only with more narrative meat on its bones and superior performances.

Magnussen makes for a sleazy antagonist, but from the minute he memorably enters, Conor McGregor's sadistically unhinged lunatic steals the show, delivering exactly the kind of crazed, hilarious performance you hoped for, constantly blurring lines between the character and real life fighter playing him. Even the romantic subplot between Dalton and Melchior's Ellie works better than it should once it's clear her involvement isn't merely tangential. Dalton's scenes with bar owner Frankie are just as effective, with Williams's presence grounding even the looniest developments.    

In the last act, Liman steps on the gas and doesn't let up, delivering a spectacular boat chase sequence and final showdown between Dalton and Knox that's best seen to be believed. Hardly trying to recreate Rowdy Herrington's original, this Road House is able to stand by itself, summoning a similar spirit, but with an entirely new setting and characters. And by not holding back or pretending to be more than it is, we get a fast food meal of a movie that offers no apologies for its bombastic approach.               

Anyone But You

Director: Will Gluck
Starring: Sydney Sweeney, Glen Powell, Alexandra Shipp, GaTa, Hadley Robinson, Michelle Hurd, Dermot Mulroney, Darren Barnet, Bryan Brown, Rachel Griffiths, Charlee Fraser, Joe Davidson
Running Time: 103 min.
Rating: R

★★½ (out of ★★★★)  

The most surprising detail about the romantic comedy Anyone But You is that it features two ascending talents who happen to have a lot of on screen chemistry. The premise isn't terrible either, especially when the focus remains on them rather than an overstuffed cast of exes, in-laws, siblings, spouses and parents. But even its likable leads can't seem to stop this from losing its way, as a promising concept becomes increasingly familiar. Director and co-writer Will Gluck does a decent enough job hiding it, but there's just no escaping the fact this mostly hinges on single piece of information we know that the main characters don't. At some point you realize this will eventually settle into the rhythms of a more traditional rom-com, despite taking a more circuitous route to get there.

What we're left with is a mixed bag that should increase everyone's appreciation of its leads, both of whom do their best to elevate the material. And while one seems more at home in this genre than the other, the mind still races at all the possibilities of them re-teaming, hopefully in a project better than this. The film's unexpected commercial success can largely be attributed to their perseverance amidst a smattering of gags from the supporting players that rarely connect. It's a strain most felt in the latter section, as multiple complications work to delay what should be a fairly simple, satisfying payoff.

While frantically attempting to obtain a key to the coffee shop restroom, Boston University law student Bea (Sydney Sweeney) meets finance broker Ben (Glen Powell) and they immediately hit it off. After spending the rest of the day together, she stays over at his apartment that night, but a misunderstanding unfolds when she abruptly leaves the next morning. They don't see each other again until months later when Bea's sister Halle (Hadley Robinson) begins dating Ben's best friend Pete's (GaTa) sister Claudia (Alexandra Shipp). 

At each other's throats over the disastrous ending of that date, Bea and Ben must temporarily put their differences aside for Halle and Claudia's destination wedding in Sydney, Australia. But tensions further escalate when their exes, Jonathan (Darren Barnett) and Margaret (Charlee Fraser) arrive, prompting Bea and Ben to hide their mutual disdain and pose as a couple. It's game on, at least until they come to the realization they may not be over each other after all.

After an awkward but promising start, a relatively straightforward narrative is hijacked by an overabundance of characters and obstacles, losing trust in its two leads to do what they mostly excel at the whole way through. In fact, you argue they actually improve together as this progresses while everything and everyone surrounding them distracts from that, undermining the film's central purpose. 

Bea is initially depicted as a total disaster, and while the setup works, it relies on goofy physical comedy that puts Sweeney in a tough spot since she fares better when playing a sly, sarcastic schemer in her scenes opposite Powell. Displaying great comedic timing and a charismatic presence that recalls a younger Tom Cruise or Brad Pitt, Powell's upside is such that this role can at least be referenced down the line for launching him into future stardom. That both capably glide through some of the more problematic sections on their interplay alone is no small feat considering you need a detailed chart to track the other characters, which also include Bea's helicopter parents (Dermot Mulroney and Rachel Griffiths) and Margaret's oafish surfer boyfriend (Joe Davidson). 

Supposedly, this is loosely based on Much Ado About Nothing, albeit very loosely. We know only one thing matters, but Gluck sure does jump through hoops to delay arriving at that destination. Some jokes, like ones involving Titanic and the use of a ubiquitous pop song are cutely clever, even if others flop hard. Still, there's something to be said for him sticking the landing with one of those showy, impossibly romantic endings that lesser filmmakers always manage to botch. Anyone But You may be slightly better than its generic title suggests, but too much of what comes before is iffier, holding this back from completely besting expectations.    

Poor Things

Director: Yorgos Lanthimos
Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Suzy Bemba, Jerrod Carmichael, Kathryn Hunter, Vicki Pepperdine, Margaret Qualley, Hanna Schygulla, Keeley Forsyth
Running Time: 142 min.
Rating: R

★★★ ½ (out of ★★★★)

It's hard to pinpoint the exact moment Yorgos Lanthimos's Poor Things pivots from an extremely weird, Frankenstein-inspired horror fantasy into something really special, but you'll know when it gets there. An oddly acquired taste that only grows stronger with each wacky, sensational development, in some ways it stylistically recalls the best of Terry Gilliam or Tim Burton before both got swallowed up by the system. But while still somehow managing to feel completely original, it's also a great twisted social satire, unironically navigating morally complicated waters to provide a thrilling, frequently hilarious experience. 

Given the MPAA's famously low tolerance for sex and nudity, Lanthimos's ability to escape with an 'R' rating is a feat in itself, as what starts as a Universal monster movie morphs into this globe trekking, fantastical comedy-adventure. With a steampunk infused look and imaginative production design, its atmosphere is unmatched by anything else in the genre, even as it's sometimes difficult to classify what that genre exactly is. It covers a lot of ground, all of which is navigated in Emma Stone's fearless performance. And while everyone's been talking about her willingness to go all out for the film's many graphic and controversial scenes, that's secondary to the other unexpected places she takes this unique character.

In Victorian London, an eccentric, facially disfigured surgeon named Godwin Baxter (Willem Dafoe) is looking after the childlike Bella (Stone), a young woman who while pregnant killed herself by jumping off a bridge. Now functioning with an infant's mind after Godwin replaces her brain with that of her unborn baby's, he recruits med student Max McCandles (Ramy Youssef) to track Bella's progress. But after falling in love with her and proposing marriage at Godwin's insistence, sleazy lawyer Duncan Wedderburn (Mark Ruffalo) arrives to finalize the contract.  

In the midst of exploring her own body and burgeoning sexual desires, Bella agrees to run off with Duncan, leaving Max behind, while Godwin moves on to another human project. But the mismatched couple's adventurous romp turns into a disaster when an increasingly curious Bella yearns to experience the world on her terms. As a whiny, insecure Duncan attempts to tighten the reigns and assert control over her, Bella must use the experience she's gained to decide between following this troublesome path or returning to the only life she knows. 

Based on Alasdair Gray's 1992 novel, this begins in classic horror territory, right down to an obsessively brilliant doctor's experiment and Robbie Ryan's stark black and white cinematography. Even before Godwin's pressured by Max for answers, it doesn't take long to figure out Bella is as much a test subject as the mutant animals found on the grounds. But it's Stone's mannerisms, physicality, line delivery and  distinct walk that reflects a child's mental and emotional inability to function within this adult woman's body. 

Lanthimos and Stone to make some bold choices that will immediately have viewers rooting Bella on, even in the cringiest of scenes. While Bella's decision to run away with Duncan is clearly a response to her character's sexual curiosity, it's the slimy suitor who seems more desperately in need of a brain and personality transplant, revealing himself a far bigger baby than Bella. But it's through his shenanigans that real change overtakes her, though not necessarily the kind Duncan wants. Stone may be remarkable but Ruffalo is perfect as her foil, bringing a quirky likeability to a drunken, debaucherous man child who's mentally unraveling at the mere thought of Bella openly questioning the rules of sophisticated society.

After a hugely entertaining dance number that serves as the first act's centerpiece, Bella and Duncan embark on a transformative cruise that Lanthimos fills with vibrant colors and jaw-dropping effects that resemble a dreamscape come to life. And there's a great interlude involving two passengers (played by Jerrod Carmichael and Hanna Schygulla) that further fuel Bella's philosophical curiosity and Duncan's eventual breakdown. 

When Bella winds up working in a brothel under the loony Madame Swiney (Kathryn Hunter), we already have ideas where this can go, at least until Tony McNamara's script subverts those expectations, using it as a thematic launching pad for Bella's final challenge. Going back to face the ailing father figure who deceived her and fiancé she abandoned, an even bigger obstacle awaits in reconciling the person she was with who she's now become.

By returning to the husband and life she had before leaping to her death, Bella attempts to flee from the men in her life, only to find herself back in a similar prison. General Alfie Blessington (Christopher Abbott) is just like the rest of them, but worse, leaving little wonder as to why "Victoria" felt there was no escape. With Bella now occupying the vessel that woman once resided, a new reality emerges when she takes matters into her own hands, utilizing the knowledge and experience she's gained to assert her independence. 

The victim of a medical procedure gone awry, or maybe exactly as planned, Bella navigates the world through different eyes, discovering it's just as cruel and unforgiving as when she first left it. Fully equipped with the tools to break those shackles, she gets the last laugh by shaping her own destiny. Brilliantly bizarre but hardly inaccessible, Lanthimos knows what he doing, endlessly imaginative in how he brings all these realistic sensibilities to a demented fairy tale. But everything comes down to Stone, who hits all the notes an actress possibly can in a single role, taking us on a wild, mind bending trip that isn't easy to shake.                                         

Burning Questions from the 2024 Oscars

 

 

Are we tired of Oscar hosts inserting themselves into clips of the Best Picture nominees?

Were you at least relieved it was just one?

Wasn't Jimmy Kimmel right that the show started already running behind?

Were you counting down the minutes until we got a joke about the length of this year's Best Picture nominees?

Or a De Niro age gap joke?

Or how about Robert Downey Jr.'s drug addiction?

Didn't RDJ less than thrilled?

Can you really blame him?

Was Messi the dog the best part of Kimmel's monologue? 

Or was it his shot at Katie Britt's State of the Union response?

Isn't it a great idea to finally have a Casting Oscar? 

When you saw the previous Supporting Actress winners come out on the stage were you thinking, "Oh no not this again?"

Were each of those introductions as long as an entire acceptance speech?

Did that just ruin any plans of the show not going over time?

Wouldn't it be more beneficial to show a clip from each nominee?

Would that have felt like an even bigger waste of time if Da'Vine Joy Randolph somehow didn't win?

 

Was that David Allan Grier? 

 

Didn't you just know Myazaki wouldn't show up?

 

Do voters even care?

 

Wasn't it great that the orchestra played that instrumental version of P.I.M.P. when Anatomy of a Fall won Original Screenplay?

 

Can you imagine if The Holdovers actually won that in light of the recent plagiarism allegations?

 

Wasn't that a solid speech from Cord Jefferson?

 

Did Billie Eilish's "What Was I Made For?" performance make you more certain it would win Best Song?

 

Is Michael Keaton back to collect his stolen Oscar for Birdman?

 

Or stolen nomination for The Founder?

 

After wins for Makeup, Costume and Production Design, wasn't it clear Poor Things would be cleaning up?

 

Was Lily Gladstone starting to get worried? 

 

Is there anything John Cena won't do?

 

Between him, The Rock and Bad Bunny, has WWE fully taken over this show? 

 

Wasn't Blunt and Gosling's "Barbenheimer" bit pretty funny?

 

Shouldn't there be a Stunt Oscar already?

 

Did you remember that Tim Robbins won Best Supporting Actor for Mystic River?

 

Did he jump the gun a bit in calling De Niro's Flower Moon performance Oscar-winning?

 

Didn't it take longer than you expected for Oppenheimer's first two wins?

Is there any audience member better at playing along with these bits than Spielberg? 

 

Weren't you relieved they didn't start playing off 20 Days in Mariupol director Mstyslav Chernov during his acceptance speech?

 

Are we finally getting that Twins sequel? 

 

Wasn't that an awesome Batman bit with Schwarzenegger, DeVito and Keaton? 

 

Were the Godzilla Minus One winners holding more Oscars or Godzilla figures?

 

Wes Anderson wins his first Oscar but isn't there?

 

Were the Best Song performances getting shorter and shorter?

 

Is that really something to complain about? 

 

How about John Mulaney's Field of Dreams dissection?

 

Did that make you want to see the movie again right now?

 

Should he host this show next year?

 

For his sake, do you hope he turns it down?    

 

How wild was Gosling's "I'm Just Ken" performance?

Didn't we all just know it would be? 

 

For just a second there, did you consider John Williams could win his sixth Oscar at age 92?

Is Billie Eilish the only one who didn't see that win coming? 

 

Didn't the earlier start time really, really help this show?  

 

Did you almost forget they still have to get to the In Memorium segment?

 

Were you curious how they'd screw it up this year?

 

Didn't we lose a lot of big names? 

 

How surreal was it to see Paul Reubens and Matthew Perry were two of them? 

What was with that huge, unreadable block of names they just threw up there? 

And the nonsensical camera angles?

Are they ever going to get this thing right?

Lance Reddick?

Treat Williams?

 

Wasn't that a great group of former Best Actor winners they picked as presenters? 

 

Can we please get Nicolas Cage nominated for something again soon? 

 

Wasn't it a pretty safe bet Spielberg would present Best Director?

 

Was it an even safer one that Christopher Nolan would win?

 

Isn't it weird that Jessica Lange won her Best Actress Oscar for the otherwise completely forgettable Blue Sky?

 

How about the look of utter shock and disbelief on Stone's face when her name was read?  

Did everyone's prediction scores take a nosedive after that?

Was all the love for Poor Things in other categories a good indication this could happen for her?

 

Did you think that Trump tweet was just a joke at first?

 

Can anyone really be surprised it was real? 

 

Could Al Pacino have read the Best Picture winner any more casually?  

Shouldn't we just be grateful the correct winner was announced? 

Well, that whole show was relatively painless, wasn't it?

 

For all the criticism Kimmel gets, is there really anyone else that audience would be able to tolerate? 

Wasn't it nice to have this telecast end on the same date it began for a change? 

2024 Oscar Predictions

Most years, Academy voters can either be relied on to spread the wealth among a variety of different films in many categories or put their energy behind one title that runs the table, sweeping nearly everything. Think Ben-Hur, Titanic and The Lord of the Rings: The Return of the King. Whether Oppenheimer joins that exclusive club remains to be seen, but it's sure shaping up that way, as it lays claim to a whopping thirteen nominations. 

Converting even half of those nods into wins would still make Sunday's 96th Oscars telecast a fairly predictable one, leaving little room for the surprises we hope for. Or if you're a more casual follower, plummeting ratings indicate you may not be watching anyway. But despite constant rumblings the ceremony could follow the SAG Awards to a streamer, it'll be staying on ABC for now with Jimmy Kimmel back hosting at a mercifully earlier start time.

In an effort to attract more eyeballs, Barbie will be all over the screen for promotional purposes, at least if commercials and ads are any indication. Greta Gerwig and Margot Robbie's snubs notwithstanding, eight noms is still an impressive haul that can be credited to what they brought to material no one thought could work. Voters will ensure it picks up something, but the night really revolves around Oppenheimer's foreseeable wins and how the show's producers can overcome any potential monotony accompanying that. On paper, Best Actor and Actress appear the least locked, but even the tightness of those races has widened in recent weeks, which could be good news for fans finalizing their picks. My predictions are below, along with an in depth analysis of the major categories.           

*Predicted Winners 

BEST ANIMATED FEATURE
The Boy and the Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse

BEST ANIMATED SHORT
Letter to a Pig
Ninety-Five Senses
Our Uniform
Pachyderme
War is Over! Inspired by the Music of John & Yoko

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

BEST DOCUMENTARY SHORT
The ABCs of Book Banning
The Barber of Little Rock
Island in Between
The Last Repair Shop
Nǎi Nai & Wài Pó

BEST LIVE-ACTION SHORT
The After
Invincible
Knight of Fortune
Red, White and Blue
The Wonderful Story of Henry Sugar

BEST INTERNATIONAL FEATURE
Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teachers' Lounge (Germany)
The Zone of Interest (United Kingdom) 

BEST FILM EDITING
Anatomy of a Fall (Laurent Sénéchal)
The Holdovers (Kevin Tent)
Killers of the Flower Moon (Thelma Schoonmaker)
Oppenheimer (Jennifer Lame)
Poor Things (Yorgos Mavropsaridis)

BEST SOUND
The Creator (Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich & Dean Zupancic)
Maestro (Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich & Dean Zupancic)
Mission: Impossible - Dead Reckoning Part One (Chris Munro, James H. Mather, Chris Burdon & Mark Taylor)
Oppenheimer (Willie Burton, Richard King, Gary A. Rizzo & Kevin O’Connell)
The Zone of Interest (Tarn Willers and Johnnie Burn)

BEST PRODUCTION DESIGN
Barbie (Sarah Greenwood & Katie Spencer)
Killers of the Flower Moon (Jack Fisk and Adam Willis)
Napoleon (Arthur Max & Elli Griff)
Oppenheimer (Ruth De Jong & Claire Kaufman)
Poor Things (Shona Heath, James Price & Szusza Mihalek)

BEST COSTUME DESIGN
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (David Crossman & Janty Yates)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)

BEST ORIGINAL SCORE
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)

BEST ORIGINAL SONG
"It Never Went Away," American Symphony (Jon Baptiste & Dan Wilson)
"I'm Just Ken," Barbie (Mark Ronson & Andrew Wyatt)
"What Was I Made For?" Barbie (Billie Eilish & Finneas O’Connell)
"The Fire Inside Me," Flamin' Hot (Diane Warren)
“Wahzhazhe (A Song for My People),” Killers of the Flower Moon (Scott George)

BEST MAKEUP AND HAIRSTYLING
Golda (Karen Hartley Thomas, Suzi Battersby & Ashra Kelly-Blue)
Maestro (Kazu Hiro, Kay Georgiou & Lori McCoy-Bell)
Oppenheimer (Luisa Abel)
Poor Things (Nadia Stacey, Mark Coulier & Josh Weston)
Society of the Snow (Ana López-Puigcerver, David Martí & Montse Ribé)

BEST VISUAL EFFECTS
The Creator (Jay Cooper, Ian Comley, Andrew Roberts & Neil Corbould)
Godzilla: Minus One (Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi & Tatsuji Nojima)
Guardians of the Galaxy Vol. 3 (Stephane Ceretti, Alexis Wajsbrot, Guy Williams & Theo Bialek)
Mission: Impossible - Dead Reckoning Part One (Alex Wuttke, Simone Coco, Jeff Sutherland & Neil Corbould)
Napoleon (Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco & Neil Corbould)

BEST CINEMATOGRAPHY
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)

BEST ADAPTED SCREENPLAY
American Fiction (Cord Jefferson)
Barbie (Noah Baumbach, Greta Gerwig)
Oppenheimer (Christopher Nolan)
Poor Things (Tony McNamara)
The Zone of Interest (Jonathan Glazer)

This is a somewhat challenging race to predict since it's one the few Oppenheimer might not win. Already poised to take home at least a few technical awards, Poor Things is riding high right now, making it easy to imagine voters rewarding Tony McNamara for working wonders with Alasdair Gray's 1992 novel. In an open field like this, The Zone of Interest can't be discounted, either for its subject matter or how Jonathan Glazer handled a tricky adaptation. 

Three-time screenplay nominee Gerwig (along with co-writer Noah Baumbach) being recognized after all isn't outside the realm of possibility since this seems like an ideal place to honor Barbie. But confusion over its category placement landed it in a far more competitive race that's likely to be won by Cord Jefferson. His timely, of the moment take on Percival Everett's 2001 novel culturally resonates in a way its closest competitors don't. It also holds a BAFTA win over Oppenheimer, which isn't nothing.      

BEST ORIGINAL SCREENPLAY
Anatomy of a Fall (Justine Triet, Arthur Harari)
The Holdovers (David Hemingson)
Maestro (Bradley Cooper, Josh Singer)
May December (Samy Burch, Alex Mechanik)
Past Lives (Celine Song)

Barbie's exclusion opened this race up a little more while May December makes its only Oscar appearance alongside Cooper's more Academy-friendly Maestro. But in the case of both, writing wouldn't be singled out as their key strength, or at least enough of one to pull off a win. Past Lives risks getting lost in the shuffle while David Hemingson's classically constructed screenplay for The Holdovers was a sure bet until Anatomy of a Fall won this award at BAFTA and the Globes, emerging as the new favorite. 

Fall's other nominations also indicate broader support, with Triet and Harari's script appealing to voters' sense of storytelling efficiency. The Holdovers can still pull this off, but it may have stood a slightly better chance if director Alexander Payne was credited as a co-writer alongside Hemingson since everything's a popularity contest. And that it feels like a literary adaptation could work for or against its chances of voters recognizing its originality.

BEST SUPPORTING ACTRESS
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrara (Barbie)
Jodie Foster (Nyad)
Da'Vine Joy Randolph (The Holdovers)

Blunt's first ever nod for Oppenheimer seems perplexing until you realize overall appreciation for the film carried her through. Danielle Brooks and Jodie Foster are in better positions, even as their respective films were overlooked in enough key categories that they've sort of become afterthoughts. 

While America Ferrera's reward will have to be impressively making the cut for Barbie, Da'Vine Randolph is the lockiest of locks for her performance as grieving Barton Academy cafeteria manager Mary Lamb in The Holdovers. It's hard to think of a more universally praised turn from anyone all year. In a category known for surprises, we won't be getting any here.           

BEST SUPPORTING ACTOR
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)

Voters liked Barbie's Gosling more than enough to find a spot for him but it's unlikely he has enough support to go further for his wildly subversive and entertaining take on Ken. It was always a coin flip between Poor Things co-stars Mark Ruffalo and Willem Dafoe, but it's Stone's movie, leaving the chosen Ruffalo as the odd man out in a crowded category. 

With KOTFM having lost momentum, the likelihood of De Niro upsetting for his turn as villainous politico William "King" Hale follows suit. Most agree it's great to see him in a role like this again, while also acknowledging there isn't anything particularly special about the performance. 

There's been nothing but unanimous praise for Sterling K. Brown's work in American Fiction but he's unfortunately pitted against an unstoppable Robert Downey Jr. who's been collecting trophies all season as two-faced Oppenheimer nemesis Lewis Strauss. Besides him greatly contributing the year's most honored film, it's being viewed as a post-Marvel reminder of what he's always done best. One of the biggest locks of the night.

BEST ACTRESS
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)

Acting legend Annette Bening has never won an Oscar, but as beloved as the five-time nominee is by voters, it won't be happening this year for her physically taxing performance as a 60-year-old distance swimmer in Nyad. And it's a shame Netflix didn't push harder since it's exactly the kind of part that could have done it for her. Mulligan (who should have won for 2020's Promising Young Woman) is sensational in Maestro, but with many still feeling it's Cooper's film, this is an uphill battle. She'll be back. 

If there's a spoiler, it'll be Hüller for Anatomy of a Fall given the Academy's large European contingent and overall respect shown to that film with its other nods. If the top two split votes, she's still a long shot, but no more of an impossibility than Olivia Colman was in 2018 when she upset Glenn Close.

With Critics Choice, BAFTA and Golden Globe wins, Stone's still sitting pretty right now, but Gladstone's arguably better situated, having also locked up a Golden Globe in addition to her PGA and SAG victories. But Stone already having Supporting Oscar shouldn't really harm her chances and the fact she's playing a resurrected nymphomaniac isn't viewed as much of an obstacle either, with most  focused on how brilliantly she did it. 

Despite divisive reactions to KOTFM, voters won't be able to resist the temptation of crowning Gladstone the first Native American Best Actress winner and hearing what's sure to be a moving acceptance speech. Even if we focus entirely on the performances and say those things shouldn't matter, they do. On top of this, the work itself is deserving. Even Stone's probably pulling for her at this point, knowing the backlash she'd inevitably get for winning. The Best Actor race may be close, but this is tighter, with Gladstone poised to make history. And we all know how much the Academy loves that.                

BEST ACTOR
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)

Many may have loved the performance, but Colman Domingo is the outlier here with the smallest chance in this field of five. Cooper's been unfairly mocked for silly reasons, but in another year the multi-time nominee would have finally sealed the deal with his memorable portrayal of late composer Leonard Bernstein. Wright's gained a lot of steam for American Fiction, but he peaked a little late, making it hard to picture him pulling this off.

If we're keeping track, Murphy won the Golden Globe, BAFTA and most recently the SAG. Giamatti holds PGA, Critics Choice and Golden Globe victories heading into the show. On paper, the edge is Murphy's since it's highly uncommon to win the SAG and not walk away with Oscar gold. Plus, a tidal wave of Oppenheimer support can only help bolster the chances for the type of biographical performance voters usually embrace. 

In his favor, Giamatti's career high work as a curmudgeonly educator in The Holdovers is probably more accessible than Murphy's icier turn and some may feel he's owed a trophy for the Sideways travesty. But that was decades ago so it'll probably come down to the movies, one of which its studio hung out to dry and is viewed as being more "lightweight" than the juggernaut that is Oppenheimer. Murphy takes it in one of the night's closer races.           

BEST DIRECTOR
Jonathan Glazer (The Zone of Interest)
Yorgos Lanthimos (Poor Things)
Christopher Nolan (Oppenheimer)
Martin Scorsese (Killers of the Flower Moon)
Justine Triet (Anatomy of a Fall)

Even if voters weren't exactly feeling adventurous when narrowing this down, but it's hard to argue against the inclusion of any of these filmmakers on merit. Perhaps more noticeable is who they displaced, as many still wish either Gerwig, Payne, Song or Jefferson could have snuck in. To that end, Glazer and Triet's nominations will be seen as reward enough given who they nudged out to claim their spots. 

There's a lot of respect for what Lanthimos did with Poor Things, but not necessarily enough from the older skewing director's branch to take him over the finish line. Once an early favorite, Scorsese's chances basically evaporated when KOTFM didn't get the rapturous reception most expected. Even those lukewarm on Oppenheimer can't deny Nolan's directorial achievement, or the fact he's probably overdue. This is his to lose, but he won't. 

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

In a year with this obvious a frontrunner the futility of having ten nominees really stands out. Poor Things and American Fiction have done respectably while KOTFM's recent decline is steep enough to actually affect Gladstone's chances. Anatomy of a Fall, Past Lives and The Zone of Interest each have their fans, but only Fall seems noteworthy for having that Triet nomination. Barbie's snubs in other categories damaged its viability in the big races, the underrated Maestro got a bad rap all season, and The Holdovers' best shot at gold remains with Randolph and possibly Giamatti.  

Every nominee has either lost momentum or held steady, with one notable exception. Oppenheimer has been running through the competition with shows no signs of slowing down, picking up every precursor while still being discussed and analyzed as if it came out yesterday. Audiences and critics love it and as a historical biography with timely resonance, its win is a foregone conclusion, giving Nolan matching Best Picture and Director statues.    

Anatomy of a Fall

Director: Justine Triet
Starring: Sandra Hüller, Swann Arlaud, Milo Machado-Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Camille Rutherford
Running Time: 152 min.
Rating: R

★★★ ½ (out of ★★★★)

The most important piece of information to know before watching Justine Triet's French legal drama, Anatomy of a Fall, is that eighty percent of it does actually take place inside a courtroom. And while this isn't something that typically occurs on screen, don't be fooled into thinking it's a talky stage play, as it deals with weighty, compelling issues that transcend what could have easily been a dry procedural. Hinging on a scenario common enough to falsely assume it's based on a true story, Triet and Arthur Harari's script, skillful editing and some memorable performances make it feel distinct.

Cerebrally constructed to make every small detail count, we hang on every word during a trial that leaves plenty of room for revelations, false assumptions and ethical questions. That so few moments strain credibility is impressive considering how far into the weeds this goes, examining the situation from multiple angles as our opinion of the protagonist's guilt or innocence shifts. It's what happens when lawyers, police and witnesses are overcome by their bias and a propensity to make broad, sweeping generalizations far outside the realms of law. Transfixing to follow, it highlights the flaws of a broken system that minimizes the chances of justice winning out. That we never truly know if it does just makes this more believable, leaving us to draw our own conclusions.

In an isolated mountain chalet in the French Alps, German novelist Sandra Voyter (Sandra Hüller) is being interviewed by a female student (Camille Rutherford) before she's interrupted by her husband Samuel (Samuel Theis), who's blasting music from the attic, forcing them to reschedule. But it's only a short time later when Sandra and Samuel's visually impaired 11-year-old son Daniel (Milo Machado-Graner) returns from a walk with guide dog Snoop (Messi) to discover his father laying dead in the snow in front of their house. 

As his spouse and the only person present at the time, suspicion immediately turns to Sandra, who contacts her friend and lawyer Vincent Renzi (Swann Arlaud) for counsel. With an autopsy revealing Samuel was struck in the head before his fall, prosecutors embrace the theory she pushed him over the balcony while Sandra's legal team mount a suicide defense. But as information about their volatile marriage comes out and Daniel gives conflicting accounts, a defiant Sandra endures an onslaught of evidence and damning personal attacks on the stand as she fights to clear her name.

With the precipitating fall occurring only minutes into the film, the remainder of its run time is donated to peeling back the layers of this relationship and the psychology driving these characters. In doing that, Triet infuses the trial with a propulsive energy that doesn't let up until the verdict comes in, which doesn't exactly provide the closure those most affected would anticipate. 

When Sandra informs lawyer Vincent she didn't do it, his pragmatic, matter-of-fact response confirms he's the right person for this job, as it's clear their friendship won't factor into how he represents her. Recognizing actual guilt or innocence is irrelevant when they step into that courtroom, he hones a strategy that hinges on the suicide theory, but mostly rests on Sandra remaining credible and composed under the pressure of cross-examination.

There's a performative aspect to the loose, freewheeling courtroom scenes that Triet compulsively captures, reaching beyond forensics when a surprising amount of circumstantial evidence comes to the forefront. And the overzealous prosecutor (well played by Antoine Reinartz) draws controversial conclusions with seemingly far-fetched scenarios that become less fanciful the more we gradually discover about this couple. 

The introduction of an audio recording and accompanying flashback changes the game, putting a new spin on Sandra and Samuel's tenuous union. Their problems look and feel real, born from an inability to reach any kind of compromise at the risk of either potentially losing the upper hand. Even language becomes a contentious issue in a partnership that was on shaky ground years before the fall, with both going through the motions for Daniel, who has a firmer grasp on reality than adults claiming to have his best interests in mind. 

Only when court monitor Marge (Jehnny Beth) is appointed to look after Daniel is he afforded any degree of protection by a system that browbeats an 11-year-old blind boy for misremembering details based on touch and sound. Bravely insisting to be in the courtroom through the lurid testimony, he astutely observes how hearing this might be his only chance at moving on.

Hüller's gut-wrenching, tension filled performance doesn't give a thing away, as there's nothing in Sandra's demeanor or actions that necessarily contradict or confirm anyone's worst suspicions. She's an enigma throughout, or at least until that absorbing flashback, which exposes a jealous Samuel as being more troubled and insecure than originally assumed. Hüller expertly straddles a thin line, with Sandra appearing remarkably steady, but prone to moments of complete emotional collapse when dealing with her son. 

As Daniel, Machado-Graner gives a quietly complex turn that's levels above any recent child performance. Torn between a losing a parent and possibly implicating the other, he's suddenly forced to take on a responsibility well beyond his years, but one he proves capable of handling. Any remaining illusions he had of his parents are shattered before he and his loyal dog eventually provide the biggest piece of this whole puzzle.

Draped in a sophisticated, thought provoking presentation, Triet depicts a kangaroo court where the accused are assumed guilty until proven otherwise. Due to the severity of charges and her reputation as a strong-willed, successful woman, the stakes seem higher as a morally questionable defendant faces an uphill battle against perception. 

Whether Sandra committed the crime is another discussion entirely, but one the film certainly doesn't shy away from when examining all psychological facets of this. Coming to an abrupt stop rather than a tidy end, Anatomy of a Fall leaves audiences pondering when the credits roll, contemplating the question of what a verdict even really means when the event itself leaves this much residual damage in its wake.