[vc_row][vc_column][vc_column_text]We’re back!
Just when you were starting to wonder if maybe we had moved on with our lives, the Matt, Ian, and Blake (or MIB) Awards have returned for our fourth annual attempt at upstaging the Academy Awards, airing on Sunday.
Need a refresher on why this is even a thing? I’ve got boilerplate for you:
The awards never go to the right person. Why? Because there is no right person. This is important to remember as we approach the Academy Awards. There is no mathematical equation to determine the winners. Voters vote based on their own personal opinion. So why bother predicting the winners? You’re just guessing whose opinion is going to win out. Instead, I’ve teamed up with two other close friends and cinephiles — aspiring actor Ian Goldsmith and former Warner Bros. Studio tour guide Matt Bauerly — to name winners of our own.
[/vc_column_text][vc_single_image image=”1018″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Popcorn Film
Blake: It’s hard not to have fun when writer-director Edgar Wright is at the helm, and Baby Driver is no exception. Ansel Elgort is the titular getaway driver who can’t step behind the wheel without the music on his iPod, which helps soothe his tinnitus but also lends the film a kinetic soundtrack that goes hand in hand with the action. There are thrilling car chases and your standard issue romance, but where Baby Driver stands apart is in a supporting cast that comes complete with scene-stealing turns from Jamie Foxx and Jon Hamm.
Ian: Baby Driver. 50% action heist + 50% fast-paced comedy + 50% dope-ass music video + 50 % places I recognize in Atlanta = 200% the most fun I’ve had watching a movie in a long time. I’m beginning to believe writer-director Edgar Wright can do no wrong.
Matt: The Big Sick. We all have seen our fair share of “rom coms.” This one is just really entertaining. It’s a ‘true’ story based on how Kumail Nanjiani met his wife doing stand-up comedy in Chicago. Odd selection for the ‘Best Popcorn Film,’ you might say. Well, this movie deserves to be on this list and I plan on re-watching it many times. Few movies hold up to me both in-theater (best experience) versus at home viewing. This was one that does.[/vc_column_text][vc_single_image image=”1019″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Sequel or Reboot
Blake: Preceded by six X-Men films and two solo Wolverine outings — including a much maligned inaugural installment that could have relegated the franchise’s most iconic character to a one-and-done run — Logan is unlike any of the films that came before it. It’s a character-driven drama disguised as a comic book film, with a lead performance from Hugh Jackman that bears the weight of the character’s last two decades on the silver screen.
Ian: While I think Logan was the best sequel of the year, it was IT that had a larger lasting impact on me and on cinema. Though technically not a reboot (sorry, Blake), this film rose to the monumental challenge of re-telling the iconic Stephen King tale. Not only are King’s books notoriously difficult to adapt to the screen, but it had already been successfully done once before with the 1990 TV mini-series. The 2017 adaptation ditches the charm of Tim Curry for a purely terrifying take on Pennywise by Bill Skarsgård. Pepper in the current craving for 80’s nostalgia (hi, Stranger Things), and we have the recipe for a modern day horror classic.
Matt: IT. This selection is always the toughest for me each year we do this. Not many options for me in this category. I have not seen the original IT but I enjoyed this “rebooted” version. Thought some of the actors provided some great performances and Pennywise is just creepy as hell![/vc_column_text][vc_single_image image=”1034″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Under-The-Radar Film
Blake: I hadn’t even heard of Lady Bird until I saw the headlines touting its 100% Fresh rating (which has now dropped to 99%, sadly) on Rotten Tomatoes. The “coming-of-age” genre feels like a well that should run dry sooner or later, but Lady Bird is an entry that feels more tailored to my generation than any of its genre predecessors. It also boasts a breakout lead performance from Saoirse Ronan in the title role, and veteran film and television actor Laurie Metcalf as the “warm and scary” mother whose strained relationship with her daughter is the heart of the film.
Ian: The Meyerowitz Stories (New and Selected). I really only have one rule with movies: Don’t see it if Adam Sandler is the lead actor. But I saw this movie at the top of some “definitive ranking of Netflix original movies” list online, so I broke my one rule. I’m glad I did. This unapologetically quirky film follows a dysfunctional family (Sandler, Ben Stiller, Emma Thompson) navigating their way through the twilight years of their patriarch (Dustin Hoffman). I know I must have enjoyed it, because it almost made me like Adam Sandler.
Matt: Logan Lucky. I probably would not have seen this film if it wasn’t for the godfather of this blog, Sir Blake Ruane. (Editor’s Note: I’ve never been knighted) But the man was kind enough to visit me in Denver and we went and saw this movie. The performances from Channing Tatum, Adam Driver, and (my favorite) Daniel Craig make it worth it. They kill it. It’s a pretty funny movie about a heist with Seth MacFarlane as the bad guy.
[/vc_column_text][vc_single_image image=”1020″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Adapted Screenplay
Blake: Mike Flanagan and Jeff Howard for Gerald’s Game. Based on one of Stephen King’s lesser known works — and one that for years had been described as “unfilmable” — Flanagan and Howard ignored the doubters to deliver one of the best King adaptations to date. The film hinges on the lead performance of Carla Gugino, but it would have been for naught had the script not been able to take the novel’s internal conflict and translate it to the silver screen.
Ian: James Ivory for Call Me By Your Name. Like the beautiful piano melodies we hear from our protagonist Elios (Timothee Chalamet), the script to this movie almost doesn’t feel written, but rather composed. Careful, calculated, and patient, this film tells a love story with authentic dialogue, a feat that any screenwriter would tell you is incredibly difficult. Though it moves at a slow burn, the script lays the groundwork for big payoffs in the second half of the film. Plus, the father’s final talk with his son could be used for, like, six different inspirational posters.
Matt: Aaron Sorkin for Molly’s Game. Aaron Sorkin’s writing is in a class of its own. I had high expectations going in and I would say they were exceeded. This is Sorkin’s directorial debut and he delivered with this telling of the fascinating true story of Molly Bloom running an A-List celebrity poker game. The scenes that include Jessica Chastain (who plays Molly Bloom) and Idris Elba (who plays her lawyer) are where Sorkin’s writing shines.[/vc_column_text][vc_single_image image=”1021″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Original Screenplay
Blake: Jordan Peele for Get Out. The most attractive quality of a screenplay, for me personally, is a complete lack of excess, and with Get Out there is none to be found. There is no fat to be trimmed. Peele wastes nothing, but the key is in the subtlety of his craft, trusting that the audience will pick up the pieces and put them together. This is the type of the film that demands repeat viewings, because the script is layered with clues that enhance the story.
Ian: While I think the most original movie of the year is Get Out (more on that later), I am giving the nod in this category to Emily V. Gordon and Kumail Nanjiani for The Big Sick. On the surface, this movie should be a hot mess. There are really four central storylines happening all at once: a love story between two twenty-somethings, a young comedian trying to make it in the industry, the struggle of a son’s relationship with his Muslim immigrant family’s traditionalist views, and a young Pakistani man who forms an unlikely friendship with two middle-aged white people from North Carolina. But instead of bloated, this film is cute, hilarious, and emotional. How? Because it is Emily and Kumail’s real life story.
Matt: Greta Gerwig for Lady Bird. I didn’t expect myself to select Lady Bird here, yet here I am. This movie is the definition of an “easy watch.” Meaning its very entertaining with a basic storyline and not a lot of action/drama. Saoirse Ronan gives a brilliant performance as you follow along with her coming-of-age story and her relationship with her mom. The writing stands out to me big time in Lady Bird with the quirky humor and the “too real” scenarios of going through high school.
[/vc_column_text][vc_single_image image=”1022″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Supporting Actress
Blake: Consider this your reminder that Holly Hunter has always been and continues to be a national treasure. In the unconventional romantic comedy The Big Sick, she is the mother of a girl in a medically-induced coma, a situation that reveals her to be fiercely protective of her daughter — especially when faced with the boy she believes broke her heart. Like any mother, she can be both tender and terrifying at times, but here she also happens to be hilarious too.
Ian: Laurie Metcalf for Lady Bird. No matter what I say here, I think Metcalf’s entire performance is better summed up by this simple two-line piece of dialogue: Lady Bird – “You can’t be both scary and warm.” Danny – “Your mom is.”
Matt: Allison Janney for I, Tonya. Lock this one in, she is going to win the Oscar. There is no other choice in this category. Allison Janney crushes the odd character that is Tonya Harding’s estranged mother. (P.S. I didn’t actually see I,Tonya in theaters. I watched plenty of YouTube videos of Allison Janney’s performance. Just want to make sure we are keeping it [100 emoji] in the MIB Awards.)
[/vc_column_text][vc_single_image image=”1023″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Supporting Actor
Blake: Mark Hamill for Star Wars: Episode VIII – The Last Jedi. Returning to the iconic role he originated 40 years ago in A New Hope, Hamill is a much more seasoned performer, which helps with a Luke Skywalker who is in a much different place than we left him at the end the original trilogy. Because of his own failures, Luke is suffering a crisis of faith, abandoning the Jedi Order he was once responsible for saving. It’s Hamill who sells us on a Luke who feels more human than ever, as he bears the weight of the galaxy on his shoulders.
Ian: Patrick Stewart for Logan. Charles Xavier is one of the most iconic and powerful characters in comic book history, played no less than seven times on the silver screen by one of the most iconic and powerful actors in film history, Sir Patrick Stewart. Logan turns the world’s wisest and strongest mutant into a feeble, crumbling, disoriented man. Sir Patrick wields his craft to the fullest to provide this gritty film with some much needed heart (and, surprisingly, comic relief).
Matt: Richard Jenkins for The Shape of Water. Admittedly, this is redemption for Richard’s standout performance as Dale’s father in Step Brothers. Anyways, I’ve always admired his work and thought he was the perfect casting in this role as the next door neighbor to the main character. Each of his scenes are probably the more memorable, laugh-out-loud moments of the film. The Shape of Water is an odd one but it’s heartwarming and worth seeing for sure.
[/vc_column_text][vc_single_image image=”1024″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Actress
Blake: Sally Hawkins for The Shape of Water. As a mute cleaning day who develops a bond with an amphibian man being held captive at the government facility where she works, Hawkins sealed this award with a single scene (as part of an remarkable overall performance). The scene I’m referring to is one where she attempts to make her neighbor and closest confidant understand why she needs to save the amphibian man from almost certain death — and she does so without uttering a single word. It’s a breathtaking performance in a beautiful film.
Ian: Frances McDormand for Three Billboards Outside of Ebbing, Missouri. Every so often, a film comes along where an actor just owns a role, commanding the screen with such power and ease that you are thrilled each time they enter a scene, and anxiously await their return during the other scenes. This was one of those times. Frances McDormand is rightfully the MVP of this film and of this awards season.
Matt: Frances McDormand for Three Billboards Outside of Ebbing, Missouri. I was very close to selecting Saoirse Ronan for her role in Lady Bird. However, I visualized, as I was making this selection, Frances McDormand hovering over my shoulder and staring me down making sure I selected her. She is just a badass that way and she is a badass in this film. She’s the reason this movie is probably going to win Best Picture.
[/vc_column_text][vc_single_image image=”1025″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Actor
Blake: James Franco for The Disaster Artist. If you’ve never seen The Room — the “bad” film that has become a cult classic and the making of which was dramatized for The Disaster Artist — find a clip of Tommy Wiseau, the film’s writer, producer, director, and star. It’s easy to see how Franco’s performance could have amounted to a bad impression. The accent alone is near impossible to replicate without sounding ridiculous. But Franco disappears into the enigmatic Wiseau, and creates a sympathetic protagonist who is more inspiring than laughable.
Ian: Timothée Chalamet in Call Me By Your Name. The best actors are those who can show us the biggest emotions in the world through the smallest of ways. As 17-year-old Elios, Chalamet doesn’t even show us these emotions; he experiences them deeply and fully, and we have the intimate pleasure of being there with him as he does. The movie ends with five minutes of us watching him watch a fire as the credits roll (spoiler alert?), and I could have watched him watch that fire for 20 more minutes.
Matt: For my honorary “Benedict Cumberbatch Award,” I have selected Timothée Chalamet for Call Me By Your Name. I had no clue if I would like this movie and I still don’t know what I think of it. But what I do know, Timothee Chalamet delivers a tremendous performance as the film focuses on his journey living in Italy with his family. My criteria is simple for acting and that is if it looks and feels ‘natural.’ I thought Timothee was extremely natural in this role and provided great onscreen chemistry with Armie Hammer.
[/vc_column_text][vc_single_image image=”1026″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Director
Blake: As much as Guillermo del Toro deserves this for The Shape of Water, I feel compelled to split the honor between Jordan Peele for Get Out and Greta Gerwig for Lady Bird. If you can believe it, both films represented their respective directorial debuts, and both are remarkable achievements for first-time directors. It’s very humbling to see two rookie filmmakers show such a masterful grasp of their craft, and I’m excited to follow their careers. The bar is high after Get Out and Lady Bird, but something tells me Peele and Gerwig are both up to the challenge.
Ian: There are a lot of elements that exemplify a well-directed movie. This can be things like ingenuity and atmosphere, as evidenced by Jordan Peele in Get Out; it can be spectacle and immersion, like Christopher Nolan with Dunkirk; and it can be timing and energy, like Edgar Wright with Baby Driver. But even the best cinematography and editing in the world can’t always bring out arguably the most difficult elements of storytelling: honesty and humanity. Paired with her witty and personal script, Greta Gerwig gives us exactly that as she shines in her directorial-debut for Lady Bird. In a movie that felt like at any moment could turn into a run-of-the-mill coming of age tale full of stereotypes, Gerwig creates something better through honest humanity. We are left with a film that is as hilarious, agonizing, and intimate as life itself.
Matt: Jordan Peele for Get Out. Now, I am not as high on Get Out as the other jabronis that are writing in this blog. However, the reason why this random horror film with the plot of a film you typically see go straight to Redbox is because of one reason and that is director Jordan Peele. You can see the little decisions he made to make this movie unique and that is ultimately why it has become an “Oscar-nominated” film.
[/vc_column_text][vc_single_image image=”1027″ img_size=”full” alignment=”center” style=”vc_box_shadow”][vc_column_text]
Best Picture
Blake: When I first saw Get Out back in February of last year, I didn’t know if I’d see a better film the rest of the year. And by the end of December, it became clear that Jordan Peele’s directorial debut had bested all comers. It’s a subversive “social thriller” that serves as a layered allegory for the modern African American experience in America, and it is as entertaining it is thought-provoking. It’ll certainly make you think twice the next time you hear a white person say that they would have voted for Barack Obama for a third presidential term.
Ian: For me, the simplest indicator of a great film is when I continue to think about it long after I have seen–it is a film that I want to watch again and again. What movie from 2017 do you think we are going to keep watching and thinking about twenty years from now? This year, only one movie persistently stands above the rest: Get Out. No other film was simultaneously as gripping, evocative, and lastingly impactful. Balancing levity and dread, Jordan Peele has created a film so unique that we are forced to find a new way to describe it. Peele has established himself as the premier voice of social satire, leaving behind his sketch comedy in order to present everyday racism through the lens of what it really is: Horror. Get Out will be cemented into the ethos of cinema history for progressing the conversations about race in filmmaking.
Matt: Three Billboards Outside of Ebbing, Missouri. I heard the buzz, saw all the awards this film was winning, and so I went to a local theater to see it. It’s the best movie I’ve seen this past year. The performances are what stand out to me the most as well as a perfect combination of humor and heart ache all rolled into one film. This is Frances McDormand’s story and she knocks it out of the park as I previously stated. I won’t be surprised if you’re talking about her counterparts in Sam Rockwell and Woody Harrelson for their great performances too. Go see this one in theaters using promo code MIB Awards… I’m just kidding, we don’t get paid for this.
[/vc_column_text][/vc_column][/vc_row]