Burning Questions From The 2025 Oscars

  

Didn't it feel good seeing this start at a reasonable time?

 

Did you expect that optimism would fade later on?

 

Wasn't that L.A. tribute montage incredibly short given the circumstances? 

 

Can you believe they were seriously considering not have any musical performances on the show at all?

 

Was that a rhetorical question?

 

Were you expecting Cynthia Erivo and Ariana Grande to perform in character?

 

Was that maybe asking a little too much?

 

Okay then, how about Chalamet?

 

Out of all the nominees Conan could insert himself into, wasn't 'The Substance' the best choice?

 

Wasn't his joke about Netflix's constant price hikes the cold, hard truth?

 

Just like the one about Karla Sofía Gascón's publicist?

 

Didn't you know he'd immediately go there with the Gascón jabs?

 

And why shouldn't he?

 

Can you believe she actually attended? 

 

A sand worm playing the piano?

 

While the musical number was funny, did you think "I Won't Waste Time" was a promise Conan wouldn't be able to keep?

 

And wasn't that kind of the song's point?

 

With the exception of Chalamet's ultrasound, didn't those celebrity headshots resemble not so embarrassing high school yearbook photos?

 

How about that Adam Sandler bit? 

 

Did Robert Downey Jr. ramble or what? 

 

Are they really not showing any film clips of the nominees...again? 

 

Were you worried they'd present every category like that?

 

With the Culkin win, was everyone officially guaranteed one right on their ballots?

 

Sort of like he and his wife are officially guaranteed two more kids?

 

So, they're showing clips after all?

 

Did anyone correctly predict Animated Short?

 

In any year?

 

Ever? 

 

Didn't the costume nominees presentation take up a lot of time?

 

What would Conan say about that?

 

Wasn't Nick Offerman the ideal choice for announcer?  

 

Were you thinking that Original Screenplay win was a promising early sign for 'Anora?'    

 

Or were you thinking that Adapted Screenplay win was a promising early sign for 'Conclave?'

 

Weren't June Squibb and Scarlett Johansson an inspired pairing? 

 

Did Squibb display the best comedic timing of any presenter?

 

In the event of an Adrien Brody win, wouldn't it be better to have Halle Berry announce Best Actor?

 

Is isn't absurd how Margaret Qualley had to be a part of the James Bond tribute to get onto the Oscars?

 

So, they decided to go all in on the musical performances anyway?

'Cinemastreams?'

 

Was that the first time we've seen Darryl Hannah in over a decade?

 

Did that editing loss seal 'Conclave's' fate? 

 

Why were they not showing clips for the Supporting Actor and Actress nominees?

 

When Zoe won were you wondering if she'd mention Karla Sofía Gascón? 

 

If you still wanted a career after this, would you?

 

Was that Rolex commercial better than just about any Oscar montage?

 

Mick Jagger?!

 

Isn't he unsurprisingly great at this whole presenting thing?

 

Did you think the 16th time would be the charm for Diane Warren? 

 

Did anyone correctly predict Documentary Short?

 

In any year?

 

Ever?

 

Am I in shock that I actually did?

 

Would "guessed" be a more accurate word than "predicted" in this instance?

 

Miles Teller and Miley Cyrus?

 

Are they Conan's version of Letterman's Oprah and Uma?

 

Was Conan's 'Anora' joke about "standing up to a powerful Russian" the line of the night?  

 

Am I the only one perplexed at the level of online hate directed toward Rachel Zegler?

 

Doesn't that 'Better Man' movie look ridiculous? 

 

Did my luck run out with Live-Action Short?

 

Didn't everyone's?

 

Wasn't that a classy tribute to Gene Hackman from Morgan Freeman? 

 

Wasn't it jarring to see how many big names we lost over the past year?

 

And surreal seeing Shelley Duvall, David Lynch, James Earl Jones and Gene Hackman listed consecutively at the end of the montage?

 

Did you yell "Oh no, not again!" when you realized they excluded Michelle Trachtenberg?

 

How can they so royally screw this up every year?

 

Are they trying to upset viewers?

 

Was 'I'm Still Here' winning Best International Feature the ultimate slap in the face to 'Emilia Pérez?'

 

Wasn't that sort of expected? 

 

Does it get any better than Mark Hamill coming out to John Williams?

 

Was Best Actor the most suspenseful award of the night? 

 

Did you breathe a sigh of relief or disappointment when Adrien Brody won? 

 

Was Cillian Murphy worried Brody would try to kiss him?

 

Did Brody's gum tossing top his infamous Halle Berry moment? 

 

Was his speech longer than 'The Brutalist?'

 

Did you notice Tarantino nodding and clapping with approval when Sean Baker talked about the importance of preserving the theatrical experience?

 

Was he preaching to the choir with that one? 

 

After seeing the poorly chosen Demi Moore clip, were you worried she may not have this in the bag after all? 

 

Did 'Anora''s screenplay, editing and directing wins forecast Mikey taking this? 

 

Didn't she give a really nice speech?

 

Though she hid it well, how disappointed must Demi be right now? 

 

Once Best Picture rolled around, wasn't 'Anora' winning inevitable?

 

But did you really expect it to clean up like it did?

 

Can Conan O' Brien do this again?

 

At this point, should any host just chalk it up as a victory they made it through the show without getting slapped? 

Anora

Director: Sean Baker

Starring: Mikey Madison, Mark Eydelshteyn, Yura Borisov, Karren Karagulian, Vache Tovmasyan, Aleksei Serbryakov, Darya Ekamasova, Luna Sofía Miranda, Lindsey Normington, Vincent Radwinsky
Running Time: 139 min.
Rating: R 

**The Following Review Contains Plot Spoilers For 'Anora' **

★★★½ (out of ★★★★)

Lost amid all the justifiable praise for writer/director Sean Baker's Anora is how quickly it flips, as a hilariously entertaining farce starts to become more movingly raw and real with each new crazy development. And in doing that it melds elements of different genres into a picture that opens rather conventionally, giving little hint of the wild, exhilarating ride to come. All those comparisons to Pretty Woman set the bar low, lulling viewers into anticipating Hollywood's latest take on the "hooker with a heart of gold." Only the trope isn't just subverted here, but turned upside down and shaken over the course of an energetically paced two hours and a half hours.

You'll know the point Baker pulls the trigger, as misadventures pile up around an arrangement that quickly goes south, derailing the title character's chances of cashing in on her dreams. What the cautiously optimistic protagonist experiences instead is a nightmare that's equal parts funny, violent and heartbreaking. It's all powered by Mikey Madison, who plays each moment with the grit and vulnerability of a woman desperately trying to salvage a rapidly deteriorating situation. As circumstances constantly change, she knows the handwriting's on the wall, but still won't go down without a fight, determined to control her own destiny.

Anora "Ani" Mikheeva (Madison) is a 23-year-old stripper and sex worker at a nightclub in Brighton Beach, Brooklyn who's introduced to Ivan "Vanya" Zakharov (Mark Eydelshteyn), the spoiled, hyperactive 21-year-old son of a wealthy Russian oligarch. After paying Ani for a series of sexual encounters at his family's lavish mansion, he offers her more to stay with him an entire week. But as they grow closer when she parties with him and his entourage in Vegas, Vanya proposes they marry so he can avoid returning to Russia to work for his father. Though initially hesitant, Ani agrees. 

After eloping, Ani quits her job and moves into Vanya's mansion when word of their marriage reaches his disapproving parents, who send Armenian relative Toros (Karren Karagulian) and his two thugs Garnik (Vache Tovmasyan) and Igor (Yura Borisov) over to force them into getting an annulment. But the bumbling Russians have their hands full with Ani, causing all hell to break loose as she struggles to save a relationship that's suddenly fallen way short of her lofty expectations. Now wondering if this impulsive decision was worth it, she could lose everything.

Baker teases a character study primarily focused on the life and career of a sex worker, but that's all setup to establish who Ani is before Vanya makes his whirlwind entrance. Goofily played  by Eydelshteyn as an unpredictable livewire, he initially seems no different to her than other clients, at least until arriving at the mansion. It would be easy see this as a con, with Vanya manipulating Ani to get a green card while she's after his money. But Baker has something a lot more complex in mind. 

Even if there's an underlying element of subconscious manipulation going on, the pair do forge a superficial connection that makes us want to believe in them as much as Ani. Plus, the immature, rascally Vanya isn't smart enough to think through any scheme, especially when his primary hobbies consist of partying, drugs and playing video games. But between his disposable wealth and fun loving attitude, the proposal still seems like a can't miss deal for Ani, who thinks she just punched a one-way ticket out of prostitution. Unfortunately, the carefree obliviousness that makes Vanya such a safe bet is what ends up derailing her life. 

What starts as a knock at the door from unwelcome intruders turns into this fight sequence so uproarious it could be mistaken for a Home Alone sequel, as these hired guns arrive to forcibly end a marriage Vanya probably would have sunk on his own anyway. The oafish Garnik and Igor botch a job that only worsens when their equally flustered boss arrives on the scene to discover Ani's more of a handful than they assumed. Armenian actor Karagulian's turn as Toros might be the film's most underappreciated, as his completely flustered character barges onto the scene totally unprepared, his priceless reactions and explosive outbursts stealing the show. And yet his angry ramblings can't be completely written off, forcing us to consider that everything he tells Ani about Vanya may be true.

It's only when Ani's dragged along on their loony search for Vanya that she gets an inkling of her new husband's cowardly true colors. Waiting for him to reemerge from hiding as a responsible adult willing to stand with her against his family is a lost cause. But that's a reality she'll need to see on her own once his parents enter the picture because their treatment of this say a lot. Madison's work reaches its fever pitch upon Ani fully recognizing what she avoided seeing all along, even if it's painfully clear this couldn't have gone another way.  

The three men tasked with resolving this debacle aren't especially prepared or invested. A discombobulated Toros flies off the handle, his brother Garnik is incompetent and the quiet, contemplative Igor hovers in the background, making awkward small talk with Ani when he's not physically restraining her. But we do get indications he's not like his two accomplices and would far rather sit this out. And boy does Borisov's performance sneak up on you, burning slowly until taking a pivotal turn late in the game, transforming how we see Ani, and ultimately, how she views herself. 

Fighting an unwinnable battle, Ani commits to leaving with her dignity intact, even as everything else falls apart. And with Baker hiding his biggest twist in plain sight the entire time, we have to peel ourselves away from this electrically charged chaos long enough to see it. The controversial final scene is a gut punch, as Ani expresses gratitude with the only transactional currency she knows, hating herself in the process. Devastating but still not the saddest of all possible outcomes, Anora leaves audiences contemplating how Ani's future very much remains in her own hands.                      

Scream (2022)

Directors: Matt Bettinelli-Olpin and Tyler Gillett
Starring: Melissa Barrera, Jack Quaid, Mikey Madison, Jenna Ortega, Dylan Minnette, Jasmin Savoy Brown, Neve Campbell, Courtney Cox, David Arquette, Mason Gooding, Sonia Ammar, Marley Shelton, Skeet Ulrich, Kyle Gallner, Heather Matarazzo, Roger L. Jackson
Running Time: 114 min.
Rating: R

★★★ ½ (out of ★★★★)

After years of devolving into more of a parody than the slasher films it was supposedly satirizing, the fifth Scream returns to its meta roots with a smart, wildly entertaining whodunnit that offers up a shockingly intelligent, multi-layered commentary on modern horror. Consider it the Cobra Kai of the series, expertly balancing the returning legacy characters with well written and performed newer ones that actually have the potential to stick around, injecting the franchise with its first signs of life in over a decade. It would be easy to understand if Ready or Not directors Matt Bettinelli-Olpin and Tyler Gillett (collectively known as Radio Silence) decided to get out now and leave on top, as they've just made the definitive sequel with this fifth installment, or at least the first in a very long time that doesn't feel like a Scary Movie follow-up. 

Everything that could possibly go right does here, and the few things that don't carry a critic proof defense because of the knowing, self-referential machinations of the plot, which feel fresh and of the moment. Between a more brutal, unrelenting Ghostface, some new twists on familiar franchise tropes and a delicate incorporation of returning characters, it cleverly introduces "Requel" to the pop culture lexicon while taking shots at elevated horror and toxic fandom. Of course, we already knew what the word entailed, but screenwriters James Vanderbilt and Guy Busick cleverly send up that entire idea, breathing new life into what had become a tired property.

Twenty-five years after Billy Loomis and Stu Macher terrorized Woodsboro, high school student Tara Carpenter (Jenna Ortega) receives a frightening landline phone call from the Ghostface killer while texting her friend Amber (Mikey Madison). Tara's brutal attack brings her estranged older sister Sam (Melissa Barrera) back to town with current boyfriend Richie (Jack Quaid). Soon, they meet up with Amber, Wes (Dylan Minette), twins Mindy and Chad Meeks-Martin (Jasmin Savoy Brown and Mason Gooding) and Chad's girlfriend Liv McKenzie (Sonia Ammar), who all piece together that Ghostface has returned and is likely among them, with the killer or killers motivated by something from the past.  

As the body count rises and mistrust within the group quickly escalates, Wes' mom, Sheriff Judy Hicks (Marley Shelton), tries to narrow down the suspects while Sam and Richie recruit the now retired Dewey Riley (David Arquette) to reluctantly help. But he's still aching over his divorce from morning TV host Gale Weathers (Courtney Cox), whom he warns along with Sidney Prescott (Neve Campbell) to stay far away from Woodsboro. But with the kills continuing, that might be a request both find impossible to honor, as Tara's friends all look to expose each other as Ghostface before it's too late.      

Right from the opening phone call it's evident this film will subvert whatever expectations remain from Drew Barrymore's iconic 1996 scene. It basically takes that entire sequence and flips it, with results that prove to be the ideal lead-in for the direction they've chosen to go. Roger L. Jackson continues his successful streak as the mysterious, sinister voice quizzing victims on scary movies, but puts a different spin on it that lets us know the sequel's really come to play. And since there's usually a new Ghostface (or sometimes multiple ones) in each new installment, it makes sense that this one would be particularly dangerous since they've had a lot of source material to study. This makes it hard to recall any previous entry where the killer seemed as forceful and unrelenting in their attacks. 

There are a lot of gruesome, uncomfortable scenes, mainly because the filmmakers rarely cut away from the action, often lingering for a disturbing amount of time as victims stare right into Ghostface's eyes. It's something you'd almost expect to see in a Halloween film, but represents a massive leap forward considering too many Scream pictures had a tendency to make a total joke of the killings. And for all the talk about rules and tropes, the characters aren't walking cliches or lazily written modern counterparts to their predecessors despite varying connections to them. They also give Ghostface some grueling fights, making the Woodsboro slasher's job tougher than it's ever been, in large part due to their familiarity with history. It's definitely not business as usual so kudos should go to the studio's marketing team for holding back in trailers and commercials to ensure key details weren't given away.

It's not exactly fair to label Melissa Barrera's Sam the "Final Girl" since that doesn't carry with it any guarantees she makes it to the end, or even that she's not the killer herself. But she can comfortably be called the lead protagonist since it's her that much of the action revolves around. As major connective tissue between the original and newer characters, she has a dark, Dexter-like secret that the screenplay fleshes out extremely well, with Barrera believably delivering a lot of expository dialogue and nailing it. The fractured sibling relationship between her and Jenna Ortega's Tara powers the narrative, as former Disney actress and You star Ortega not only fills Barrymore's shoes, but goes more than a few steps further, registering physical pain, fear and trauma in a realistic manner that hasn't exactly been a hallmark of the series up until now. 

Ortega's work ranks amongst the best we've gotten in any Scream sequel, but nearly equaling her is a sarcastically likable Jack Quaid, who kind of channels a late 90's Joshua Jackson as Sam's boyfriend Richie, getting to deliver many of the script's most cleverly satirical lines. Jasmin Savoy Brown is also a huge standout as kind of a modern take on Jamie Kennedy's horror rules-obsessed Randy Meeks, and for good reason, since her character's his niece. The rest of the newer cast is also uniformly excellent, with Dylan Minette carrying a memorable, Psycho-inspired sequence that uses misdirection to mine maximum suspense in a playful way that the other films have rarely explored to this extent.  

It's a while before David Arquette's Dewey appears, and while his previous appearances have meant less with each subsequent film, this feels entirely different. Like a veteran gunslinger called to action for one last stand, there's a tinge of sadness and regret in Arquette's performance that wasn't there before. Whether you want to chalk it up to age, experience or simply being given something meaningful to dig into this time, it's a high water mark for him. His complicated relationship with Courtney Cox's Gale Weathers also strikes a surprisingly bittersweet note without sacrificing any of the warmth or humor associated with the character.

Similarly, Scream queen Neve Campbell is in this only as much as necessary as Sidney, fully completing her evolution into the Jamie Lee Curtis of the franchise, minus the latter's timeline confusion. Her return is carefully handled, dovetailing nicely into the current storyline but never overwhelming it. Sidney offers sage advice while quickly reestablishing herself as a badass fans know and love, all with the recognition that she can only go so far and that these kids are going to have to face this, with or without her help. Campbell doesn't miss a beat, taking full advantage of a script that finally shows the character the respect she's owed, but in an appropriately impactful supporting role that doesn't overstep its bounds. By doing this, the film proves the franchise can have a future without her, should it ever come to that.

By this point, the Stab movies within the movies provide more of an inspiration for the killings than the actual sequels, so it's fitting that the rules have shifted focus from surviving to actually uncovering Ghostface. Using them to cleverly reference this franchise's stumbles and address a lot of popular online complaints about other soft reboot attempts turns the tables on hardcore fans for a change. No previous entry has leaned into the whodunnit aspect as well or strongly as this, luring the characters and viewers into a false sense of security regarding who's responsible. They'll always be watchers claiming they "knew the whole time," but the ingenious aspect to this script is how it has everyone second-guessing themselves because certain picks just seem too obvious, or maybe not obvious enough. 

While rumors are true that original Ghostface, Billy Loomis, appears in hallucinatory form thanks to some de-aging technology on Skeet Ulrich (that admittedly doesn't look great), the bigger story is that it serves the story rather than feeling like a stunt. It's also brief enough that any complaints are skillfully covered by the context in which he's used. The last act is a bit long, but the final reveal justifies it, featuring one of the more wildly unhinged Ghostface portrayals we've seen, as one particular performer chews all the scenery in sight while literally and metaphorically returning to the scene of the original crime. It's a perfect balance brutality and absurdity when the curtain's pulled back on the intricasies of this wacko meta plan. There's also a spectacular death scene that provides the ultimate in-joke for those familiar with the recent career of the actor involved.

So much discussion has centered around how a new Scream film could possibly stay true to the late Wes Craven's vision and still manage to creatively fill the tank for any potential future installments. But this threads that needle so convincingly that those who skipped the sequels wouldn't miss much. And yet, it still acknowledges them in the best of ways, playing fast and loose within that timeline to spring even more tiny surprises on us. With a sense of renewed purpose, the legacy characters return in a logical manner that supplements an already tight story, enabling the actors to bring a welcome gravitas to their roles that's gone missing for too long. It finally feels like the right amount of time has passed for their presence to mean something again and the filmmakers really work to make it count. Better yet, this only further facilitates the efforts of the new cast, many of whom have earned another go-around. And it's definitely been a while since we could say that.