Soapbox Commentary: The Top 20 Most Anticipated Movies of 2018

The cinematic year of 2017 is coming to close, and what a year it has been. However, after going over the movies coming out, it looks like 2018 is poised to be even bigger! With big spectacle films, thought-provoking indies, and films so bizarre, you'll have to purchase a ticket just to see what the fuck is going on, 2018 is going to be huge.

How huge? The list of twenty films (and one honorable mention) was whittled down from a much longer list, and I left off some films that, while I'm anticipating, just didn't quite fit the “most anticipated” title (Fantastic Beasts: The Crimes of Grindewald, for instance...holy shit, was it difficult to leave this off the list).

Brace yourself for the weirdness and the awesomeness, and read on!

HONORARY MENTION: TOMB RAIDER (March 16^th)

When Square Enix rebooted the video game franchise, it was met with skepticism. That is, until it came out and amazed everybody.

Tomb Raider, the movie adaptation of the video game of the same name, looks to do so as well. Alicia Vikander takes over for Angelina Jolie as the new Academy Award-winning actress to play Lara Croft. This time around, however, the filmmakers opted to go against over-sexualizing the lead character and going for intense action and going with the source material. You know, the things the fans want.

So why only an honorary mention? Simply put, video game movies tend to suck. Hard. And, even though this movie looks awesome, I'm quite skeptical of its quality.

#20: THE DARKEST MINDS (September 14^th)

Some filmmakers opt to do superhero movies, post-apocalyptic action films, or Holocaust dramas. Director Jennifer Yuh Nelson (Kung Fu Panda 2) opted to take themes from all three and make pretty interesting-sounding movie.

Based on the novel of the same name by Alexandra Bracken (who co-wrote the screenplay), The Darkest Minds sounds like the potential sleeper hit of the year. Nelson's live-action debut and a cast featuring Mandy Moore and Gwendoline Christie makes it that much more interesting.

#19: A QUIET PLACE (April 6^th)

Horror movies made a huge splash in 2017, thanks to interesting, unique films like Get Out and It Comes at Night. A Quiet Place, what appears to be a horror film completely devoid of dialogue, appears to fit this bill. The fact that it comes from actor/writer/director John Krasinski, and features Emily Blunt and Wonderstruck's Millicent Simmonds, makes it all the more intriguing.

#18: MARY POPPINS RETURNS (December 25^th)

Speaking of Emily blunt, she's playing the titular character in Mary Poppins Returns, which also features Lin-Manuel Miranda, Meryl Streep, Colin Firth, Angela Landsbury, and Dick Van Dyke, among others. The film sounds so good, it almost makes up for the fact that it comes over 50 years after the original.

#17: GAME NIGHT (February 23^rd)

Comedies come and go, but comedy/action/mystery hybrids are rare to say the least. Game Night appears to be such a unicorn. Boasting a cast featuring Jason Bateman, Kyle Chandler, Rachel McAdams, Jesse Plemons, and Billy Magnuson, Game Night should easily become one of the comedy gems of 2018.

#16: A WRINKLE IN TIME (March 9^th)

Disney is all over this list, and for good reason: they make good films. A Wrinkle in Time finally comes to life in this stunningly colorful adaptation which features Chris Pine, Oprah Winfrey, and Reese Witherspoon, and is directed by Ava DuVernay.

#15: RALPH BREAKS THE INTERNET: WRECK-IT RALPH 2 (November 21^st)

While I tend to balk at Disney's obsession with making a sequel for everything, a Wreck-It Ralph sequel is always welcome.

The lengthy title aside, Ralph Breaks the Internet: Wreck-It Ralph sounds amazing. The original cast comes back, and features many of voice cast of other classic Disney films, such as Idina Menzel, Mandy Moore, Kristen Bell, and Kelly Macdonald.

#14: ANT-MAN AND THE WASP (July 6^th)

Just like last year's list, a small section is dedicated to superhero movies.

Ant-Man and the Wasp is the sequel to the surprisingly amazing Ant-Man. Paul Rudd returns as the titular Ant-Man, while Evageline Lilly comes back to take the role of The Wasp. With Michael Pena and Michael Douglas returning, and Michelle Pfeiffer joins the cast, Marvel's superhero heist film will certainly get an amazing sequel.

#13: SPIDER-MAN: INTO THE SPIDER-VERSE (December 14^th)

Even though Marvel Studios has nothing to do with the film, nor anything to do with 2017's Spider-man: Homecoming, Spider-Man: Into the Spider-Verse still looks incredible. With a unique animation style, a plot focusing on Miles Morales instead of Peter Parker, and a cast featuring the likes of Mahershala Ali, Liev Shreiber, and Shameik Moore, Into the Spier-Verse should be an eye-popping feast for fans.

#12: BLACK PANTHER (February 16^th)

The Marvel Cinematic Universe keeps amazing with every entry. But Black Panther takes things to a whole new level. Bringing in Creed director Ryan Coogler to helm, and newcomers Lupita Nyong'o, Michael B. Jordan, and Forrest Whitaker to join Chadwick Boseman, Andy Serkis, and Martin Freeman. The first primarily African American superhero film since last year's Sleight. This should prove to be indredible.

#11: THE INCREDIBLES 2 (June 15^th)

It's a sequel to The Incredibles, featuring the original cast. Do I really need to continue? Didn't think so.

#10: ROBIN HOOD (September 21^st)

As abysmal as Ridley Scott's film was in 2010, it doesn't change the fact Hollywood keeps trying. But this Robin Hood brings in Taron Egerton in the titular role, Jamie Foxx as Little John, Jaime Dornan as Will Scarlett, and Tim Minchin as Friar Tuck.

Yes, my expectations may be high for this, but I don't care. This looks fun.

#9: THE PREDATOR (August 3^rd)

While I don't always condone reboots, The Predator is a unique exception. The cast includes Jacon Tremblay (yes, you are reading that right), Keegan-Michael Key, Olivia Munn, Jake Busey, and Thomas Jane, and is written and directed by Shane Black.

If a stellar reboot could save Planet of the Apes, it could work for this.

#8: BOHEMIAN RHAPSODY (December 25^th)

Biopics are a dime a dozen. I know, I say this every year, but it's true. But Bohemian Rhapsody is the biopic of Queen frontman Freddie Mercury. With Rami Malek (Mr. Robot) as Mercury, and Bryan Singer out as director, Rhapsody could prove to be the biopic everyone wants.

#7: HOW THE GRINCH STOLE CHRISTMAS (2018) (November 9^th)

An animated version of Dr. Seuss's How the Grinch Stole Christmas with Benedict Cumberbatch as The Grinch.

Yes, enough said.

#6: ANNIHILATION (February 23^rd)

While not a lot of details are swirling around about this bizarre sci-fi film, Annihilation marks writer/director Alex Garland's follow up to Ex Machina, and stars Tessa Thompson, Natalie Portman, and Oscar Isaac. With a trailer that is both intriguing and beguiling, and the talent backing it, this should be quite the thrill ride.

#5: READY PLAYER ONE (March 30^th)

Ready Player One was supposed to be released in 2017, and was delayed three months to ensure the film was excellent. Judging by the trailers, it was a good call.

Based on the book by Ernest Cline (who also co-wrote the film with Zak Penn), director Steven Spielberg returns to sci-fi in a big way. Video game references, 80's nostalgia, and featuring performances by Olivia Cooke, Simon Pegg, Mark Rylance, Ben Mendelsohn, and T.J Miller, what more could a movie fan want?

#4: DEADPOOL 2 (June 1^st)

Sequels come and go. Comic book movies are common place. Comic book movie sequels more predictable than the weather. But Deadpool 2? This is the sequel fans have been waiting for since the moment this first film opened.

Ryan Reynolds, of course, comes back as the Merc with the Mouth, as does Morean Bacarin, TJ Miller, and Briana Hildebrand. The newcomers include Josh Brolin as Cable and Zazie Beetz as Domino, as well as John Wick director David Leitch. If this movie is even half as good as the original, this will be incredible.

#3: OCEAN'S 8 (June 8^th)

2017's Logan Lucky gave us two things we didn't even know we were missing: Steven Soderbergh and comedic heist films. Thanks to Ocean's 8, we get both in 2018 as well.

Produced by Soderbergh and from writer/director Gary Ross, this female-led(!) companion piece to Ocean's Eleven features Sandra Bullock as Debbie Ocean, Danny Ocean's sister, as well as Anne Hathaway, Cate Blanchett, Rihanna, Dakota Fanning, Olivia Munn, Mindy Kaling, and Helena Bonham Carter. The male cast includes Richard Armitage, James Corden, and a cameo from Matt Damon.

John Mulaney made a joke about how there could never be a female-led heist movie. It will be fun to see how wrong he is.

#2: AVENGERS: INFINITY WAR (May 4^th)

Justice League may have soured the idea of superhero team-ups, but Avengers: Infinity War is clearly making it up to the fans.

The first of the planned Avengers films in two years, Infinity War brings Captain America, Iron Man, Black Widow, Hawkeye, The Hulk, Thor, Spider-Man, and the whole Guardians of the Galaxy all together in a giant epic team up ten years in the making.

With team-ups fans have been dreaming up for years, and the promise of shaking things up for years to come (including some deaths of prominent characters), Avengers: Infinity Wars is almost guaranteed to be Marvel's next billion-dollar film.

#1: THE HAPPYTIME MURDERS (August 17^th)

Just like last year, the top spot goes to a murder mystery. Unlike last year, however, this murder mystery is about puppets. Yes, puppets.

Imagine if L.A.Confidential and Sesame Street had an ass-backwards love child, you would get The Happytime Murders, a murder mystery comedy that is told almost entirely with puppets. Boasting a cast featuring Melissa McCarthy, Elizabeth Banks, Maya Rudolph, and Joel McHale, with a script from Parks and Recreation's Todd Berger and directed by Brian Henson (yes, Jim Henson's son).

With dark humor, a stellar cast, a Who Framed Roger Rabbit-like plot, and puppet murder (seriously, folks...puppet murder), The Happytime Murders is such a screwed up movie it could be the movie we didn't know we both wanted and needed.

Movie Review: "Professor Marston and the Wonder Women"

 When it comes to the post-Summer cinematic season, you can almost set your watch to when the biopics start rolling in. And why not? They are almost guaranteed to at least nab a few nominations come Oscar time, and both critics and audiences seem to enjoy them. However, every “Spotlight”, you get one “A Beautiful Mind” – one that takes a complex subject, but chooses to shield the blemishes in order to make the subject more accessible for wide audiences, a decision that often leads to controversy.

“Professor Marston and the Wonder Women” certainly is not shy about its subject. Taking an unflinching, uncompromising look at the creator of the most well-known female superhero, “Professor Marston” refuses to back down on telling the whole story, and is better for it.

The entire cast puts in performances worthy of Oscar gold. Luke Evans is nearly unrecognizable as the titular professor, choosing to abandon his debonair rogue persona for an intellectual, passionate man. Evans' transformation from action hero to dramatic actor is astounding to watch, and will, at the very least, open new doors for his already-impressive career.

Bella Heathcote is certainly not a household name right now, but, after this movie, eyes will certainly be on her. Adding softness and sweetness to some of the rougher elements, Heathcote makes a stellar turn, and should rightly be awarded for her role.

However, despite the title, the true star of the film is Rebecca Hall. Brash, blunt, and vulnerable, Hall's performance as Marston's wife has Oscar gold written all over it. Equal parts hilarious and heart-breaking, Hall is the consistent gem of the film, and truly earns the title of Wonder Woman.

Writer/director Angela Robinson takes a bizarre love story and origin story and makes it beautiful, despite the uglier elements. Robinson's flare for camerawork is amazing to watch alone, but it's her clear love for the characters and subject matter that flows through her script. Writing and directing work of this caliber is impressive on its own, but given the fact this is only Robinson's second feature film is almost unbelievable.

Yes, “Professor Marston and the Wonder Women” deals with many subjects films rarely dare to tackle – such as polyamory and BDSM (the latter having a deep roots in the Wonder Woman mythos). However, largely due to Robinson's script, these salacious elements are shown as beautiful without compromising their integrity. But, even looking away from these aspects of the film, “Professor Marston” has proven itself as a heavy hitter this year just by being relevant. Not only was the timing of its release perfect, serving as a bookend to “Wonder Woman”, but also serving as a love letter for strong women and LGTBQ community, and a basis for teaching young boys to respect women, this film could not be more important right now.

 “Professor Marston and Wonder Women” deserves all the praise and Oscar potential it has coming to it. I highly recommend this movie.

Movie Review: "Spider-Man: Homecoming"

Unlike Marvel Cinematic Universe heavyweights like Iron Man and Captain America, Spider-Man has always been loved by comics fans and movie fans alike. This is the reason why we have more Spider-Man movies than any other solo character than any other character out of Marvel's impressive pantheon. It's also why Spider-Man films are always so heavily scrutinized.

Even under the heaviest of scrutinizing, Spider-Man: Homecoming is easily the best film. While being the sixth Spidey film in only sixteen years (Batman, for instance, has had seven solo films in nearly thirty years), Homecoming feels remarkably fresh, brilliantly mixing heart and humor to the expected action and suspense.

Taking place months after the events of Captain America: Civil War, Homecoming sees Peter Parker (Tom Holland) bubbling with youthful exuberance and itching to receive his next superhero mission from his unwitting mentor Tony Stark (Robert Downey, Jr) and Stark's long-suffering assistant Happy (Jon Favreau). Navigating life in high school with his friends Ned (Jacob Batalon) and Michelle (Zendaya), his love interest Liz (Laura Harrier), and, of course, Aunt May (Marisa Tomei), Parker soon finds himself over his head while investigating illegal arms dealer Adrian Toomes (Michael Keaton).

Tobey Maguire made a decent Spider-Man, and Andrew Garfield was a good Peter Parker, but Tom Holland's performance nails both sides of the titular hero. Holland illustrates the brash over-confidence and wallflower-esque coyness seamlessly, which is exactly like the Peter Parker from the comics. This is the Spider-Man we have been waiting for.

Where Homecoming succeeds where the other five films fell short is the supporting cast. This may be Spidey's show, but the supporting cast manages to shine just as bright as Holland. Batalon and Zendaya are hilarious in every scene they show up in, Favreau and Downey are sharp-witted and engaging, and, even as the cast's weakest link, Harrier is sweet and funny, never bringing the film down or feeling like dead weight.

But the true scene-stealers? Tomei and Keaton. Tomei's Aunt May is brilliantly witty and hilarious, proving even the meekest character from the comics can still have substance. As Spider-Man villains go, Keaton's Adrian Toomes is truly terrifying. Even outside of the costume, Keaton adds tension and gravitas to each scene, making this film more of a treat than expected.

Unlike the previous installments, Spider-Man: Homecoming knows where to go excessive and where to trim the fat. Sure, the film adds more heroes than the others had, but uses them sparingly enough that their inclusion feels natural. The film adds world-building, but does so in such a way it comes across as fluid rather than forced. Even when the film adds montage sequences, which have bogged down previous entries, actually add to the fun of the film.

Spider-Man: Homecoming is so much more than a fun romp, though. Gripping, emotional, and often powerful, Homecoming sticks its footing brilliantly into the MCU without feeling like it relies on brand recognition, standing on its own while fitting amazingly into the bigger story.

You owe it to yourself to see this movie.  

Movie Review: "Wonder Woman"

To fully express my views on this film, I have to go deep into the details. Because of this, unlike my typical reviews, SOME SPOILERS MAY COME UP. You have been warned.

Let me start with the punchline: Wonder Woman is good. In fact, I would say it's very good. It's often riveting, the writing is on par of what it should be, and, despite my initial trepidation, Gal Gadot plays the role aptly. But there are quite a few concerns I have with the film that make it impossible for me to consider this film excellent – which is where a film of this historical nature should be. While the film met my expectations, my expectations were relatively muted to begin with, so this isn't much of a glowing recommendation.

POSITIVES:

Gadot as the titular character aside, the cast is quite stellar in their respective roles. Chris Pine does what he does best in the role of Steve Trevor. Brash, arrogant-yet-awkward, and ever-so charming, Pine takes much of what he does with Captain Kirk in the new Star Trek films, tones it down slightly, and shines. Ewen Bremner, Saïd Taghmaoui, and Eugene Brave Rock all stand out instead of remain in the background, something that tends to happen with larger DC film casts. And, as villains go, Danny Huston and Elena Anaya are quite interesting to watch.

Where the film really shines is the script. DC films have typically exorcised the more strange and supernatural elements of the comic books, from Ra's Al-Ghoul's regeneration pools in Batman Begins to Bane's use of Venom toxin in The Dark Knight Rises to the entire hot mess Doomsday was in Batman v Superman: Dawn of Justice. So the fact that Allan Heinberg's script doesn't shy away from the weirdest elements of Wonder Woman's origins. From her being molded out of clay by her mother Hippolyta (played by Connie Britton) and her links to the gods of Olympus to the magical powers she possesses, DC and Warner Bros finally took a page out of Marvel's playbook and allowing the characters to be weird – even if no one actually calls Diana “Wonder Woman” once in the entire film.

And let's talk about those action sequences! Every action sequence is a well-choreographed dance punctuated by one of Diana's signature, iconic blows, and is a true feast for the eyes.

However...

NEGATIVES:

Remember that romance between Diana and Steve that I predicted from the debut of the first trailer that everyone told me I was entirely wrong about? It's there. Not only is it there, but it compels Diana to kick things into high gear when the chips are down.

This is NOT Wonder Woman.

Wonder Woman has always been the symbol of feminism – not needing a man to get things done, not being identified as someone's love interest, etc. But that's what she is reduced to here. While the first action sequences are purely of Diana kicking ass and taking names, the steam is stolen out of the big ultimate showdown between her and Ares because she's compelled to do it for love, not for duty. I understand that some things must be Hollywood-ized, but this was not one of them.

This isn't the only thing that is affected by Diana and Steve's romance. The dialogue between them, while starting off fun and flirtatious like a screwball comedy of old, they bicker like an old married couple in the latter half of the movie, which grows tiresome quickly.

Speaking of Ares, while it's great they gave him his iconic armor from the comics, his reveal is far too predictable.

But even when all of these are not taken into account, the film still suffers from several of the elements that mire all of the DC Extended Universe films. The pacing is often sluggish and dull, utilizing too much useless dialogue when it should have relied on action. The film is far too dark in palette, once again being shot through the Guy Ritchie Instagram filter. And, for the love of Zeus, not every action scene needs nine slo-mo parts.

CONCLUSION:

Are these staggering negatives enough to detract from the movie? No. The film still has enough overwhelming positives to counter the negatives, and it is still a vastly enjoyable film. It often feels like Thor and Captain America: The First Avenger were mashed together, but this isn't necessarily a bad thing. If this is a sign of things to come for the future DCEU films, then we're finally getting the upswing.

It may not be Marvel level of quality, and this is not the best DCEU by default. Wonder Woman is still quite a compelling movie in its own right, and it is more than worth the price of admission.

I recommend this movie.

Oscars 2017: The Winners and Reactions

When 2016's films were so music-heavy, how appropriate is it to have Justin Timberlake open the ceremony with an epic dance number? Why do I have the feeling Hugh Jackman is somewhere being pissed off he wasn't involved? He always kicks ass hosting the Tony Awards with opening musical numbers.

And that opening joke with Jimmy Kimmel? Some of the best acting of year already.

If you missed the Oscars due to not wanting to hear political commentary missed some truly intelligent commentary and hilarious. Kimmel may believe he won't host the Oscars again, but, after so many well-written, well-delivered jokes that every Hollywood actor and producer Kimmel lovingly roasted took in stride, don't be surprised if he's announced as next year's host.

BEST ACTOR IN A SUPPORTING ROLE: MAHERSHALA ALI, MOONLIGHT

What an impressive career Mahershala Ali has had already! From playing the main antagonist in Marvel's Luke Cage to a wonderful turn in fellow Oscar-nominated film Hidden Figures, Ali shone the brightest of any actor in Moonlight. The trophy could not have gone to anyone more deserving.

BEST ACHIEVEMENT IN MAKEUP AND HAIR STYLING: SUICIDE SQUAD

While the film ranks among 2016 worst films, it's hard to deny Suicide Squad displayed some great achievements in this category. While I can make jokes about Jared Leto as the Joker, it's not quite appropriate.

BEST ACHIEVEMENT IN COSTUME DESIGN: FANTASTIC BEASTS AND WHERE TO FIND THEM

Taking the first award away from La La Land, Colleen Atwood's work in Fantastic Beasts was quite beautiful and eye-popping, and deserved this award.

Introducing Taraji P. Henson, Octavia Spencer, and Janelle Monae from Hidden Figures as true superheroes before introducing Dorothy Parker on stage was not only beautiful, but awe-inspiring. Kimmel is scoring some serious points tonight.

BEST DOCUMENTARY FEATURE: O.J. MADE IN AMERICA

Twenty years after the controversial murder trial that shook America, O.J. Simpson has impacted our culture in a major way in 2016 with an epic mini-series and now this award. This is quite interesting.

Lin-Manuel Miranda is always a joy to watch in everything. Period. And setting up the performance by Auli'i Cravalho of his Oscar-nominated song “How Far Can I Go” from Moana was great. Cravalho's performance was breath-taking and gorgeous, just as Moana was. The Oscar for Best Song is going to be a difficult one to predict.

BEST ACHIEVEMENT IN SOUND EDITING: ARRIVAL

What I would have thought would have been an easy win for La La Land goes to Arrival. Yet another first Oscar nomination and win of the night, and, for anyone who saw Arrival will tell you, this was a much deserved win.

BEST ACHIEVEMENT IN SOUND MIXING: HACKSAW RIDGE

Well, damn. That is shocking. Again, this award should have been a walk for La La Land, but, on the other hand, this award typically goes to action and war movies. La La Land was neither. So, I suppose this isn't the biggest shock of the night after all.

Seriously, folks. Mel Gibson is taking all of Kimmel's jokes in stride. Good on him for being able to take a joke.

BEST ACTRESS IN A SUPPORTING ROLE: VIOLA DAVIS

This category was anyone's game. Viola Davis was snubbed hard for The Help in 2012, and was so powerful, riveting, and amazing in Fences, it's difficult for me to be disappointed in this win. Sure, Octavia Spencer and Naomie Harris were both incredible in their own rights. But Davis is consistently breath-taking in everything she does on the big and small screen. And holy shit, does she know how to give a good speech!

This new segment of celebrities talking about their favorite performers and movies is beautiful. Charlize Theron talking about Shirley MacLane and then having them present together is wonderful, and they need to do this segment in future broadcasts.

BEST FOREIGN LANGUAGE FILM: THE SALESMAN

While I haven't had a chance to see any of the films nominated in this category, I want to take the time to demand theaters nationwide to show these films. If we can have multiplexes show films like Suicide Squad and Rogue One on multiple screens, those same multiplexes can allow one screen for a film like The Salesman.

And the director's absence in protest for the way Trump is denigrating other Iranians and Middle Easterners was a brave one, but I fear one that will fall upon deaf ears.

Sting's song “The Empty Chair” was short and simple, but profound. In this time of journalist shaming, it's important to acknowledge those journalists who have risked their lives and lost them in order to let the truth be heard and seen.

BEST ANIMATED SHORT FILM: PIPER

Pixar does wonderful work in this category, and this film was no exception. This was so adorable and precious, it's no wonder it won. But those other nominees? Man, I clearly need to watch those shorts programs next years.

BEST ANIMATED FEATURE FILM: ZOOTOPIA

Am I disappointed Kubo and the Two Strings didn't win in this category? Absolutely. But am I disappointed that Zootopia won? Absolutely not. Zootopia was an incredible and important film about humanity, tolerance, and acceptance, and is one that should be treasured for all.

BEST ACHIEVEMENT IN PRODUCTION DESIGN: LA LA LAND

This was a category that could have gone to anyone. But having this be La La Land's first win of the night is possibly one of the most deserved. It had so many incredible sets and vivid designs, the work on this film is so eye-popping and gorgeous, it's no wonder it went to this amazing film and its designers.

As cute as the Hollywood Tours gag was, let's face it: there's a reason why the Oscars are always over four hours long. It was cute, but way too fucking long.

This segment of foreign people speaking about cinema in general, and American cinema, is awe-inspiring and beautiful. This is exactly why I have loved this art form since I was eight years old, and will always treat Oscar Sunday like most people treat Super Bowl Sunday.

BEST ACHIEVEMENT IN VISUAL EFFECTS: THE JUNGLE BOOK

Okay, so I'm really bummed Doctor Strange didn't take this one home. But I can't say I'm shocked. The Jungle Book was pure green screen and animation save for the little boy, and it was a visual treat. Still a deserved win.

Seth Rogen talking about Back to the Future. This is so glorious on so many levels. And Rogen and Michael J. Fox singing a song from Hamilton in front of Lin-Manuel Miranda was awesome!

BEST ACHIEVEMENT IN FILM EDITING: HACKSAW RIDGE

Hacksaw Ridge beating Moonlight and La La Land? Sorry. Bullshit. This is the first undeserving Oscar win of the night.

BEST DOCUMENTARY SHORT SUBJECT: THE WHITE HELMETS

Anyone else notice that all the nominees in this category were from other countries? Let that sink in for a moment before agreeing with anti-immigrant stances. Art and brilliance knows no country, border, or color.

BEST LIVE ACTION SHORT FILM: SING

I reiterate my commentary from above.

I could listen to Javier Bardem talk about anything. Listening to him talk about Bridges of Madison County almost makes me want to watch the film. Almost.

BEST ACHIEVEMENT IN CINEMATOGRAPHY: LA LA LAND

Once again, this category could have gone to anyone. But La La Land was truly a sight to behold, and was so spectacular. This was an amazing achievement for a musical, and can't help but feel this earned it.

Even with John Legend singing the two nominated songs from La La Land instead of Emma Stone and Ryan Gosling, “City of Stars” and “Audition” are still amazing songs that take my breath away.

BEST ORIGINAL SCORE: LA LA LAND, JUSTIN HURWITZ

I'm actually surprised by this one. When a musical comes out, most of the time, the focus is on the songs that include lyrics. But Hurwitz's score was peppy and melancholy at the same time, and spoke as many volumes as the script did.

BEST ORIGINAL SONG: “CITY OF STARS”, LA LA LAND

Holy shit! I would have thought these two songs would have canceled each other out. I'm highly disappointed Lin-Manuel didn't complete his EGOT tonight, but it's hard for me not to be disappointed by this win.

Jimmy Kimmel mocks Matt Damon with talking about We Bought a Zoo, which is hilarious. I'm not sure Damon has the same sense of humor Mel Gibson has, but it's still glorious to watch. And watching Damon and Ben Affleck be played off by Kimmel and the orchestra is inspired lunacy.

BEST ORIGINAL SCREENPLAY: KENNETH LONERGAN, MANCHESTER BY THE SEA

As much as I loved La La Land, Lonergan's script is a shining example of a film that shows grief in an accurate and heart-wrenching way. Bravo.

BEST ADAPTED SCREENPLAY: BARRY JENKINS AND TARELL ALVIN MCCRANEY, MOONLIGHT

This is a great win, given the fact this movie was granted so little press before now. A powerful script written by two amazing writers. It may only be the second win of the night for the film, but these are two major awards, and should be proud of them.

BEST ACHIEVEMENT IN DIRECTING: DAMIEN CHAZELLE, LA LA LAND

The youngest director to win the Oscar for directing, Chazelle went from directing the dark comedy Whiplash with such simplicity to this whirlwind musical with such ease. This is the first major award for La La Land, and an inspiring win.

BEST ACTOR: CASEY AFFLECK, MANCHESTER BY THE SEA

In a category that was virtually impossible to predict, Affleck's win is huge. Who was once a decent background actor in Ben Affleck's movies, Casey Affleck earned this Oscar for his understated performance in Manchester. Bravo, Casey!

BEST ACTRESS: EMMA STONE, LA LA LAND

HELL YES!!! Easily one of the finest young actresses of our generation, Stone has demanded all the attention she deserves for the movies she's starred in, from the goofy comedies like Superbad and Crazy Stupid Love to her more powerful films like Birdman. Holy shit! What a deserved win for such a remarkable actress.

BEST PICTURE: MOONLIGHT

What the fuck just happened?!?

While that was truly the biggest fuck up in Oscar history, Moonlight is a gorgeous film, and, if there was any film that deserved to to win over La La Land, it's this film. While I'm still reeling from how awful an upset this has to be for the producers of La La Land (seriously, people, what the fuck?!?), I'm not fully disappointed by this win.

Top Five Films that Could Beat "La La Land" for Best Picture

With its throwback to the Hollywood musicals of old while maintaining its originality through rapier wit, brilliant cinematography, and wonderful performances, the smart money on the Oscars tonight is on La La Land. However, that doesn't mean there aren't strong contenders. While La La Land has won its fair share of accolades, outlets such as the Independent Spirit Awards and Screen Actors Guild Awards have gone to other films.

Here are the Top Five contenders for Best Picture that not only could steal the limelight La La Land, but would deserve to do so.

#5. HACKSAW RIDGE

HAHAHAHAHAHAHAHA! No, but seriously. This film has no chance in hell.

#4. ARRIVAL

While not quite the snowballs-chance-in-hell film, Arrival is still a dark horse candidate, even with eight nominations. This is a shame, too, because no sci-fi film in the last five years to maintain such stunning visuals, brilliant performances, and a screenplay that maintains its intelligence without being arrogant or pandering. All is not lost, though. The odds of it winning Best Adapted Screenplay are looking good.

#3. MANCHESTER BY THE SEA

With seven nominations, Manchester By the Sea has a lot going for it. An honest portrayal of grief and mental illness, stunning performances from Casey Affleck and Lucas Hodges, a beautiful script, and better reviews than La La Land, Manchester can very well steal the show.

However, for every point in its favor, there is one against it. Manchester has been losing a lot of high profile awards to La La Land and the next film on this list, and the recent controversy surrounding Casey Affleck's sexual harassment charges have shadowed a lot of its chances of taking home a lot of gold.

#2. MOONLIGHT

Easily the most revered film of 2016, earning a 98% on Rotten Tomatoes and a stunning 99% on Metacritic, Moonlight is a beautiful, understated film. With Best Picture wins from the Independent Spirit Awards, the Golden Globes, and the Screen Actors Guild Awards, this film has the best chance of stealing the show from La La Land tonight.

However, the film that is the most deserving of stealing the show tonight?

#1. HIDDEN FIGURES

Hidden Figures is one of 2016's perfect films. Not only did it tell one of the most important tales of America's history that most History classes hadn't covered until now, Hidden Figures is a powerful film about racial discrimination, sex discrimination, and how three women took the reigns of their destiny and overcame the hurdles these created. Not only is it an important historical film, but an important film to show the current (and future) generation of young women what can be accomplished with self-sufficiency and perseverance.

If any film deserves to win over La La Land the most, it's Hidden Figures.

Soapbox Commentary: The Top 10 Worst Movies of 2016

Every year in the movie world, one thing is always certain: they all can't be winners. For every Hidden Figures and La La Land, you had a Dirty Grandpa and London Has Fallen – a film that wasn't terrible but still had some merit to it.

And then there are these ten films. Dull, lifeless, often without merit, and bewildering to audiences. Best intentions don't always lead to best movies, but these are are the best examples of this principle.

Remember: if you don't see the movie you thought was the worst of 2016, it's probably because:

1. I didn't see it. While I can't see every gem of the year, I certainly can't see every piece of shit that comes out either.
2. I saw it, but didn't think it was that bad. Like Mike and Dave Need Wedding Dates, there are those films that were wrecked by most critics, but had enough to the film that it wound up being a little fun.
3. You and I have vastly different opinions on movies, and perhaps should check out my Best of 2016.

Pray to whatever deity you pray to that there aren't any films this bad in 2017.

#10. SULLY

That's right. Boo. Hiss. How dare I? Hear me out:

Clint Eastwood is a brilliant director who has made Oscar-winning films like Unforgiven and Mystic River. Tom Hanks is a brilliant actor who has done Oscar-winning turns in films like Forrest Gump and Oscar-worthy turns in films like Bridge of Spies and Catch Me if You Can. Any film that these two were going to do together was bound to solid gold, right?

How wrong we were. Sully had fifteen solid minutes in a two-and-a-half-hour film, and that's about all the credit I can muster for the movie. Tom Hanks is decent, but misused. The real story of the Miracle on the Hudson takes a backseat to a legal drama that wasn't interesting.

It wasn't atrocious, but it wasn't Oscar-worthy either.

#9. INDIGNATION

Oscar-bait is usually a great way to showcase wonderful acting, stellar screenwriting, and solid directing. Indignation showcased none of these things.

Logan Lerman abandoned his teen film image for a more mature role, and it almost worked out for him. His performance was decent, and, had the screenplay been more solid, he would have had a better opportunity to shine.

Dark, overly sexualized, and little point, Indignation had little to offer.

#8. TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS

The original film was polarizing. The Turtles looked odd, the script was gritty and dark, and the voice cast didn't resonate with all audience. But it was still a fun time.

Teenage Mutant Ninja Turtles: Out of the Shadows took the little goodwill it had earned with fans and burned it without prejudice. While it was wonderful to see fan-favorites Beebop and Rocksteady on screen, they seemed too much like the products of second-rate Three Stooges material to be funny. Making vigilante Casey Jones a cop was just sacrilegious. And Krang...what the fuck was that?

If a third film in the series comes out, let's just hope it manages to be better than this.

#7. THE HUNTSMAN: WINTER'S WAR

When Snow White and the Huntsman came out, it was a decent enough film, but, while it showcased Chris Hemsworth as his career was rising, it showcased Kristen Stewart as hers was ending. The logical decision seemed like to remove her character from the film. Perhaps the actual logical decision should have been not to make another movie.

Hemsworth, as well as the returning Charlize Theron and the new castmates Emily Blunt and Jessica Chastain, all seemed remarkably out of place in this lifeless, forgettable fantasy film that offered no justification why audiences should care about these characters at all.

#6. JASON BOURNE

2016 seemed to be the year of the long-overdue sequel, and this was another example of why you should just quit while you're ahead.

Jason Bourne came four years The Bourne Legacy, saw Matt Damon take the role back from Jeremy Renner (who was far better in that installment), and little else can be said about it. Damon looked old and tired, something he didn't when The Martian debuted. The plot seemed like the Cliffs Notes of the first three films Damon starred in. The stakes were dulled. The script was lackluster. No one asked for this movie.

Pray a sixth film either gets Renner back, or just doesn't happen?

#5. LIGHTS OUT

Horror films are a dime-a-dozen because they are made on a shoestring budget and make twice said budget back often in one day. So making a film with a stand-out concept is always a good idea for horror producers.

Lights Out is a prime example of how a stand-out concept doesn't always compensate for a phoned-in script, dull performances, and an ending that doesn't make sense.

And, of course, there's a sequel on the way.

#4. THE DIVERGENT SERIES: ALLEGIANT

After Harry Potter and the Deathly Hallows was split into two films to massive success, it became the vogue thing to do in Hollywood to split the last film in every franchise into two. And while the finales of Twilight, The Hunger Games, and The Hobbit didn't go as well as Hallows Part 2 did, at least they all stayed in line with the source material.

The Divergent Series: Allegiant magnificently failed this simple task. While the film shared the characters and the name of the last book of the teen dystopian sci-fi book series, that was the extent of the similarities. Perhaps the idea was to save the actual plot of the book for the second part of Allegiant, but, if that's the case, that was a failure as well. Allegiant failed so bad at the box office, and we may never see planned last film, The Divergent Series: Ascendant.

Bad writing, uncomfortable performances, and a convoluted plot. Yeah. We may be better off.

#3. INDEPENDENCE DAY: RESURGENCE

If you're going to make a sequel over 20 years after the original film, it may be a good idea to take the two-decade span to ensure the film is spectacular.

Independence Day: Resurgence clearly did not take this thought to heart. A clearly rushed script, the inability to get Will Smith back, and the cast that did want to return was forced into second-fiddle roles to make the new cast members feel relevant in a film that mentioned strong back-stories that seemed more interesting than the story that played out on screen.

So, maybe the moral of the story should be, if you're going to make a sequel to a movie that came out 20 years prior...don't.

#2. SUICIDE SQUAD

If your fans have to take to social media and create a petition to shut down Rotten Tomatoes because they're claiming the poor reviews are ruining the movie, maybe it's time to admit the movie wasn't good.

Suicide Squad should have been great. A-list villains being forced to team up and save the world should have felt like the anti-Avengers and would have given DC a shot at competing with Marvel Studios. Instead, we get a plot that makes less sense than Allegiant, characters feeling like window dressing instead of fully developed, a script that was rewritten into oblivion, and the Joker was relegated into a cameo position rather than the star.

After Batman v Superman: Dawn of Justice, this was a major step in the wrong direction.

#1. ASSASSIN'S CREED

Who the hell was this movie made for?

The movie had almost nothing to do with the video game it shares its name with, so the fans of the video game rejected it.

The sci-fi elements are so odd and ridiculous, genre fans rejected it.

The historical elements were barely touched upon, so subgenre fans rejected it.

And the performances, writing, and direction was so inane and horrible, even casual movie fans rejected the film.

Seriously, who the hell was this movie made for?

Soapbox Commentary: The Top 10 Best movies of 2016

While 2016 was easily one of the most divisive years in modern history, it's also been one hell of a cinematic year. Diverse, intense, and often magical, the movies of 2016 gave audiences a lot to revel in.

Before I deliver on the goods, a quick disclaimer:

I did not see every film in 2016. Let's face it, no one actually did. But, with the slew of films that went into limited release on Christmas Day, there are many films that you may see on other critics' lists that I unfortunately could not see. And, while films like Live By Night and The Founder won't be going nationwide until this year, they had Oscar runs in L.A. and New York, making them 2016 films, not 2017 films.

So, if you don't see your favorite film on this list, it's possibly due to this reason. Or, you know, you may want to check my Worst of 2016 list.

Either way, on with the show!

#10: DEADPOOL

I often do my best to keep comic book movies off my Top 10 lists. I'm a geek by nature, and, however tempting it would be vociferate about every geek-gasm I have each year, I try to reserve the spots on the Top 10 to the truly important films of the year.

And that's ironically why Deadpool narrowly makes the list. While 20^th Century Fox had a tragic foible with Fantastic Four last year and a polarizing misstep with X-Men: Apocalypse this year, Deadpool not only avoids the typical self-important brooding that all superhero films outside of the Marvel Cinematic Universe falls victim to, but also shows comic book movies can be action-packed, fun, and self-deprecating.

Think Deadpool still doesn't deserve to be on this list? Well, the Hollywood Foreign Press nominated it for a Golden Globe in one the Best Picture categories. Sorry, but the placement on this list is more than justified.

#9: QUEEN OF KATWE

Many of this year's films featured strong female leads overcoming difficult odds based on gender, race, and/or environment. Disney's Queen of Katwe is one of the finer examples of this. While it's not as riveting as one of my other top picks for the year, Katwe is every bit as important of a film based on the message we should be telling the next generation of females as it is due to its strong script and amazing performances.

Lupita Nyong'o, David Oyelowo, and newcomer Madina Nalwanga all deserved nominations for their performances in this little-seen film, and the film only adds to the impressive slate Disney had in 2016. It may not have made as much money as even the modest receipts forPete's Dragon, but that doesn't mean this film isn't important.

#8: ANTHROPOID

It's rare that any war movie winds up on my list, since I've never been a fan of them. However, Anthropoid is far from the typical war movie. Putting equal importance on the events of history as it is with the people who made this history, Anthropoid is a thrilling, gripping tale that has the edge-of-your seat thrills of a Hollywood action film, while maintaining the spirit of an indie film.

Again, this film was not seen by many. In fact, it's more than likely not going to be found on anyone else's Top 10 lists of the year. This is a shame, because this is every bit of excellent as films like Black Hawk Down and Saving Private Ryan, just without the graphic realistic violence that marred those films from being enjoyable to a wide audience.

#7: EYE IN THE SKY

Political thrillers are a rarity unto themselves these days, which is a shame since, given the current political climate, there is so much to bring to light that many are blind to.

Eye in the Sky illuminates one of the biggest dilemmas our current military faces: do we risk life of one and lose the propaganda war? Or risk the lives of many to win the propaganda war? A verbal chess match that lead to many of the year's best cinematic moments, and, once again, very few people saw it.

With Oscar-worthy performances from Helen Mirren, Aaron Paul, and the final live-action performance from much-beloved Alan Rickman, Eye in the Sky deserved so much more attention than it received upon release.

#6: MANCHESTER BY THE SEA

While this film tops many critics' lists, it's not quite the best film of the year. But Manchester By the Sea is a remarkable film.

An honest look at family, loss, and trauma, Manchester has a lot to offer. Casey Affleck rises from bit player status and gives quite easily the best performance of his career, rivaling those of any other actor this year. The story itself is not an easy one, and the film is often a difficult one to watch.

Still, any film to have this deep of an impact deserves to be on this list, even though I may not share the same awe and praise most American critics have for this movie.

#5: DOCTOR STRANGE

Again, I try to leave comic book films off these types of lists. And, while many would argue that Captain America: Civil War was the stronger film from the Marvel Studios, Doctor Strange requires less knowledge of the other MCU films to enjoy.

But, then again, Doctor Strange is a different beast entirely. Focusing on Eastern religion and magic rather than sci-fi action, Strange is one of the best written films of the year, provided by the same writer of this year's Spider-Man: Homecoming, and an Oscar-worthy performance by Benedict Cumberbatch.

One of Marvel's riskiest films proved to be one of its biggest payouts. Marvel didn't just give fans what they want, but they delivered a film that they didn't even know they wanted. This sort of filmmaking deserves accolades.

#4: ARRIVAL

If films like Safety Not Guarenteed or this year's hidden gem Midnight Special has taught us anything, it's that sci-fi doesn't have to be filled with glitz, glam, CGI, and action to be excellent. But, honestly, no film exhibits this better than Arrival.

A movie about language and understanding should not be this riveting, and, yet, here we are. The film has received multiple nominations, including Golden Globe nominations, and every one of them are deserved. The cinematography is excellent, the editing is magical, and the performances by Amy Adams and Jeremy Renner are breath-taking.

Arrival is intelligent without being arrogant about it, and the non-linear nature isn't difficult to follow. Sci-fi doesn't need to look like Star Wars to be eye-popping, and Arrival should be on everyone's must-see list.

#3: DENIAL

In a post-truth age, the truth is a powerful weapon. Denial takes this message to heart, and runs with it like a freight train out of hell.

In this true story about the libel case against Deborah Lipstadt (Rachel Weisz) brought on by known Holocaust denier David Irving (Timothy Spall), Denial is a nail-biting court drama that is dramatic, not because the stakes are life-and-death, but because the truth is dangerous when it's ignored.

With our current political climate being what it is, Denial should be required viewing for any American – young and old. It's hard not to deny this film its due. Denial is by far one of the best historical dramas of the year, and is only over-shadowed by one film.

#2: HIDDEN FIGURES

In case you hadn't realized it, African Americans and women have shaped America to what it has become and the history books have conveniently ignored this fact until recently. Hidden Figures illuminates one of the greatest untold stories of NASA and the space race with Russia.

While it's gripping and fascinating to watch a movie about three African American women (Taraji P. Hansen, Octavia Spencer, and Janelle Monae) and their impact on the pre-Apollo NASA missions, what Hidden Figures does is something that most historical dramas seemingly ignore: be entertaining.

Hidden Figures is funny, but not at the expense of drama or historical importance. The characters are flushed out, the writing is solid, and the performances are Oscar-worthy. This film should be a must-see on everyone's list.

#1: LA LA LAND

Like it or hate it, there's always something special when a film tries to recapture the magic and spirit of old Hollywood. Where Cafe Society and Hail, Cesar! tried admirably to honor this golden age of stars and screen, it's La La Land that sticks the landing in this beautiful send-up to original musicals.

Ryan Gosling and Emma Stone are amazing, singing and dancing their hearts out while giving the best performances of their careers. Damien Chazelle's follow-up to the underappreciated Whiplash is a toe-tapping, beautifully rendered homage to cinematic musicals that truly needs to be seen to believe.

It's emotionally true without being overly dramatic. It's highly energetic and fun without resulting in bubblegum sweetness. It earns its hype without becoming a product of it. This was one of the most highly anticipated movies, and it deserves to be on the top of this list.

Now go see it!