11 Most Anticipated Films of 2019

In 2019, Disney will release not one, not two, but three live-action adaptations of their animated classics, namely Aladdin, Dumbo and The Lion King. This alone should be testament to how packed 2019 is going to be with films I can’t wait to catch in cinemas. Needless to say, this list was rather difficult to make given the sheer number of potentially amazing films on the calendar, but here are my eleven most anticipated films of 2019.  

11. Where’d You Go, Bernadette?

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(credit: mariasemple.com)

This film was originally slated for release May this year, but is now slated for a March 2019 release. I loved Richard Linklater’s Boyhood, and here, he works with an amazing cast including Cate Blanchett as the titular character, Kristen Wiig and Judy Greer. I think this could be a funny and quirky film, with an interesting plot to boot where the audience is left guessing. I generally enjoy Wiig and Blanchett in anything they do, so I’m definitely looking forward to this film.

10. Aladdin

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(credit: Disney)

So far, we’ve only been treated to a short teaser trailer, showcasing the titular character and the lamp. But to me, Disney rarely goes wrong with their live-action adaptation of animated classics (Beauty and the Beast, Cinderella), and Aladdin certainly has the potential for some amazing scenes. I think a lot will come down to the chemistry and interaction between the genie (played by Will Smith) and Aladdin (played by newcomer Mena Massoud).

Aladdin is directly by Guy Ritchie, which for me is certainly not a plus point, as to me he’s had far from the best track record; I didn’t really enjoy any of his previous films. Nevertheless, I’m banking on Disney working their magic and bringing us a visually dazzling film, hopefully with an emotional core.

9. Captain Marvel

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(credit: Marvel Studios)

After the ultimately disappointing Avengers: Infinity War, my enthusiasm for the fourth Avengers film has certainly dimmed, and I find myself looking forward more to the new entry into the MCU, Captain Marvel. After the explosive success of Black Panther this year, I’m sure MCU chiefs will hope to position this film has Marvel’s next cultural phenomenon. From the trailer it’s clear they are pushing the fact that she’s the first female superhero with a standalone film.

I’ve generally found these introductory Marvel films to be the best ones, and from the trailer, Captain Marvel looks pretty good. Her powers do seems slightly dull; shooting an underwhelming energy beam from her fists, but I’m sure there’s a lot we’re not seeing.

I thought Brie Larson was magnificent in Room, but from the trailers, her face looks rather blank, and I hope her performance doesn’t disappoint here. The supporting cast looks great though; Gemma Chan and Jude Law are definite draws for me.

If the second trailer had not been somewhat underwhelming, this would have been way higher on my list.

8. Godzilla: King of Monsters

(credit: Legendary and Warner Bros. Pictures)

A large part of my anticipation for this film roots from the comic-con trailer, which I thought was fantastic. I really enjoyed the dark aura that permeated the first film, and the way they played with scale to bring out the sheer size of the titular monster and its foes, making for some extremely epic scenes. I also liked the way they weaved the narrative together through the eyes of seemingly insignificant human beings in the face of these monsters. It appears, based on the trailer, that the second film will reflect a similar promise, with a similar overhang of darkness, an emphasis on sheer size and a reliance on the perspective of seeming human collaterals.

The introduction of multiple new monsters within the Godzilla canon is also reason for excitement, as this points to action scenes of an even larger scale, whereby Godzilla has more friends and foes to accompany him (it?) onscreen.

I’m rather neutral about Millie Bobbie Brown being the human protagonist of the movie; I think she seems to be playing Eleven from Stranger Things, and I think the emphasis will be on the monsters anyway (or at least it should be)

7. Downton Abbey

Downton Abbey film release

(credit: ITV)

The Downton Abbey TV series was one of my favourite series ever, so needless to say, I’m extremely excited for this film, no less because it continues on from the series conclusion, giving us a look into the future of the characters.

I’m also particularly glad that most of the main cast is returning; Hugh Bonneville, Elizabeth McGovern, Laura Carmichael, Michelle Dockery and of course, Maggie Smith! After dominating the Emmys with her performance as the Dowager for a number of years, I wonder if her film performance will translate into an Oscar nod?

The new cast members also add promise to the film; I loved Imelda Staunton in films such as Finding Your Feet and Pride, though I wonder if she’ll bring back an Umbridge-like character from the Harry Potter universe. After all, the drama and scandal, albeit more slow-burning than one we’d see Umbridge in, is part of what makes the series so interesting. I wonder if we’ll see a McGonagall-Umbridge like standoff that we saw in Harry Potter and the Order of the Phoenix, that’d be amazing. Also, the inclusion of Geraldine James, who I loved in Anne with an E, could bring the movie some real heart depending on her role.

Overall, I’m really excited for this film, and if it’s as good as the TV series, it’ll likely be one of my favourite films of the year.

6. The Lion King

(credit: Disney)

I don’t think there’s much I need to say about this; it’s The Lion King! Directed by Jon Favreau no less, who I thought brought The Jungle Book beautifully to life. The only problem I have with this, after the release of the first trailer, is the lack of discernible emotions on the animal’s faces, which I felt was key in giving the animated classic both its emotional and comedic punch.

I think the cast is great though; with largely comedic actors in key roles, I expect the comedic moments of the film to hit, while I hope it retains the emotional core of the original.

5. Us

(credit: Blumhouse Productions)

Get Out was one of the most interesting films I’d seen in recent years, and was a film I greatly enjoyed analysing and picking apart given its abundance of clever symbolism and allusions. Director Jordan Peele’s next offering, Us, sounds equally promising on paper, being branded as a sort of socio-horror thriller.

The cast certainly is a plus, especially with Lupita N’yongo as the lead. She hasn’t seemed to play the lead in a film for a while, but I think given her talent, she could absolutely blow this out of the park and garner some Oscar attention, not unlike the way Daniel Kaluuya did with Get Out.

4. Dumbo

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(credit: Disney)

Admittedly, one reason why Dumbo is so high on this list was the absolutely amazing trailer. I loved the trailer, and thought it really grounded Dumbo as an emotionally charged film at its core, which Disney can really deliver with their usually stellar music scores and stunning visuals to complement.

I thought it seemed true to the original, with perhaps a slightly larger arc involving the magnate played by Michael Keaton. I think Dumbo is also digitised beautifully; we get to see nuances in his expression in several close-ups, unlike what we’ve seen in the trailer for The Lion King so far.

3. Little Women

(credit: cinematicfaves.com)

A large part of my enthusiasm for this film roots from the team behind it, along with the cast. Greta Gerwig directed my favourite film of 2017, so naturally I’m eagerly anticipating her next film offering. Saoirse Ronan, the star of Ladybird returns, alongside a cast including Timothee Chalamet (also in Ladybird), Emma Watson and Meryl Streep. I do hope Gerwig’s witty yet touching storytelling shines through as it did in her previous film, and that it doesn’t become overpowered by its very talented cast to become an actor’s showcase kind of film, which I often like but don’t love (eg. August: Osage County).

The subject matter from this film is far from original; Little Women has been adapted for both the small and silver screen multiple times since the release of the novel. Nevertheless, it remains a story that, when told right, can be extremely engaging and touching. If this blows people away, I think it could be a serious contender in next year’s Oscars.

2. The Aeronauts

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(credit: comingsoon.net)

Eddie Redmayne is one of my favourite actors in the business right now. One key reason is that he’s not only comfortable with taking on roles that stray from the Hollywood male lead model — brooding anti-hero, man with world on his shoulders — but absolutely owns them and imbues them with unique personality. For example, as Newt Scamander in the Fantastic Beasts series, he makes the quirky, socially awkward character his own, bringing out his eccentricities in a way that we definitely don’t often see in blockbuster male leads.

In The Aeronauts, Redmayne reunites with his Theory of Everything co-star Felicity Jones, who I think is on the brink of getting her first Oscar after her first nomination and her subsequently impressive work.

The only plot synopsis we’ve been given for this film is as follows:

Pilot Amelia Wren and scientist James Glaisher find themselves in an epic fight for survival while attempting to make discoveries in a hot air balloon.

(credit: Wikipedia)

By and large, it seems to be a historical period piece about aeronaut James Glaisher. Yet its classification as an action-adventure film tells me that this could offer some real thrills, perhaps while retaining a quaint, indie feel, which the setting of a hot air balloon could certainly lend to. The introduction of the fictional character Amelia Wren tells me that this film could really pack an emotional punch. The chemistry between Redmayne and Jones in Theory of Everything was amazing, and I can certainly see it blossoming here too, whether in the form of a friendship or a romance. I think that could really carry the film and make this a wonderful experience, and I eagerly await it.

1. Toy Story 4

(credit: Pixar, Disney)

This one really doesn’t need much explaining. Pixar hardly ever goes wrong, and when they deliver, they really deliver. Perhaps my biggest fear going into this film will be my infinitely raised expectations. The first three films were near perfect, with the third being one of the most emotionally resonant films I’ve ever seen. With the return of almost all the characters we know, I simply can’t wait for their next adventure. I think the two short trailers that were released have been particularly effective in keeping the plot a complete mystery, instead getting us ready to revisit some all-too-familiar toys.

Aaaand that wraps up my 11 most anticipated films of 2019! It may seem like treachery that Avengers 4 and Star Wars Episode IX didn’t make the list, but after the somewhat lackluster previous films, my anticipation for these movies have kind of fallen. Especially Avengers. I guess we’ll have to wait for the trailers. Some other movies I’m really looking forward to but just couldn’t fit in include MIB and Artemis Fowl, which look promising too. Let’s hope 2019 in film doesn’t disappoint!

– Justin

 

Fantastic Beasts: Crimes of Grindelwald Thoughts/Analysis/Review

*SPOILERS AHEAD*

Going into the cinema, one of the biggest question marks for this film was definitely the plot. Seeing as Crimes of Grindelwald is based off an original screenplay by JK Rowling, who has been kind of going wild throwing twists and turns in her story world, I was expecting a film full of plot twists and references to the Harry Potter series.

The film started off well; I enjoyed the opening sequence where Grindelwald escapes while being transferred to another prison. I thought the act of him throwing the creature that had helped him subdue his captors out of the carriage to its death was an apt way of displaying how he’s completely contrary to Newt; he doesn’t care for the lives of beasts at all. Likewise, we also see how he’s contrary to Newt in terms of his ability to win people over with his ‘silver tongue’ (I’m honestly not sure if this was an actual magical thing or just a way to describe his persuasiveness); having won three guards at the prison to his side and as we see, has pulled Abernathy over, who was even willing to have his tongue cut off in Grindelwald’s place. Indeed, we see Grindelwald’s insidious pull throughout the film; bringing Auror’s to his side, and of course, Queenie.

After the nice opening sequence, we cut to three months later, where we see Newt in the UK Ministry of Magic. We are introduced to Leta Lestrange, played by Zoe Kravitz, who clearly has history with Newt. Perhaps the almost uncomfortable close-ups of their faces as they converse is a reflection of their former intimacy. We are also introduced to Newt’s brother, Theseus, who I suppose is meant to be something of a foil to Newt’s character, seeing how he’s an Auror, a vocation Newt clearly dislikes, and appears to be a socially superior version of Newt that could have been; seeing how he is held in high regard in the ministry and is wedded to Leta.

Here’s where the plot begins to get messy.

We’re thrust into a whirlwind of urgent exposition as Newt meets Dumbledore (played very well by Jude Law, by the way), we’re given some news on Tina, who is also in Paris looking for Credence, and of the new Nagini-Credence relationship. We’re also introduced to Yusuf Kama, who I honestly felt was a completely unnecessary character who only served to complicate the plot without adding any real substance to it. We also learn of the conflict within the Queenie-Jacob relationship, as wizards are barred from marrying muggles, giving reason for Queenie to turn to Grindelwald at this injustice. Oh, and Bunty. I thought she was a somewhat interesting if also unnecessary addition, who also only served to complicate things needlessly with her clear affection for Newt, leaving one to surmise that there’ll be an arc involving her unrequited love (which never surfaces in this movie; she doesn’t appear at all after the few minutes we see her, perhaps in the sequel?). There’s also the introduction of Nicholas Flamel, who always seems only to appear as a nod to fans of the original series, as he’s mentioned as Dumbledore’s friend in the first Harry Potter book. His role is, like Bunty, rather needless. He seems to serve only as a powerful wizard who shows up in the finale to aid in battle. I think it’s clear an issue arises very quickly in this film, which is that it’s simply way too crowded. The problem is not that there’s too big a supporting cast, it’s that J.K Rowling has set up multiple points of conflict and interest among them needlessly, resulting in an unfulfilling finale where we’re too tied up with all of the various complicated plot lines to really know what to feel about some of these characters.

I think we can tell that the story was meant to have everything lead to Grindelwald; in the finale, the various characters all physically present themselves to him.

I thought the film could have been so much more cohesive if they had removed the Yusuf plotline, and focused on the Newt-Leta story more. That would have made her declaration of love towards the end far more meaningful (I also liked how they made it ambiguous whether she said it to Newt or Theseus), as I thought the flashbacks to the Newt-Leta school days were definitely some of the nicer scenes. Letting the confusing revelation that coiled the Leta-Credence-Yusuf story together take centre stage seemed to suddenly make much of the main cast almost insignificant to the bigger plot, making for an underwhelming finale.

Of course, the main talking point coming out of the theatre was the deus ex machina J.K Rowling throws us at the very end, that Credence is a Dumbledore. Clearly, this is a cliffhanger move to set up the sequel, but I thought it only served to further throw the Leta-Credence-Yusuf story into irrelevance, which utterly confuses me because they had set that up as a climactic revelation and the driving point of the plot.

We are treated to some nice scenes, most of them involving various beasts. I thought the action sequences in the French Ministry of Magic was nice. I enjoyed the Tina-Newt reunion scene, which brought out the peculiarities of Newt’s character in a really charming way, props to Eddie Redmayne for fleshing out Newt’s character so well. As I stated early, I also really enjoyed the Newt-Leta story, especially the flashbacks. Perhaps a biased part of me enjoyed them because of the familiar Hogwarts setting, but I thought they provided a nice escape from the overcomplicated plot that was coiling itself into a mess. The final battle was nice but kind of came out of nowhere; what were those fiery beasts and why are we seeing them for the first time in the final battle?

Overall, it had it’s moments, but definitely very, very messy. This Harry Potter fan is definitely disappointed.

Rating: 5.5/10

Sight Unseen: Mortal Engines

Usually, it’s possible to glean from a movie’s promotional material and the level of marketing, along with other factors, whether or not it’ll more than likely be a good movie or not. A recent example is The Nutcracker and the Four Realms which I recently saw. The badly put together trailers for the film in terms of their messy editing and severe lack of that magic Disney feel already set me up for a subpar film, which it was.

For the Mortal Engines, however, it really seems like one of the biggest wild cards in awhile. While on one hand, it appears to have some of that Peter Jackson LOTR magic; the visuals look grand and beautiful, the action sequences look interesting, it concurrently harbours a familiar young adult aftertaste reminiscent of the YA mania period of The Hunger Games and Divergent. That isn’t necessarily a bad thing, however, the dialogue in the trailer seems far from inspired, so I think a lot of it will come down to whether or not they focus enough on building these characters amidst the CGI spectacle. The scar on Hester’s face is certainly a peculiarity that I think will be explored, probably with commentary on the concept of beauty (inner vs outer etc).

The promotional material has seemed to focus quite extensively on the character Anna Fang (played by Jihae), so that tells me that she might be the scene-stealing character, who will be of more interest than the protagonist. Of course, a film like this needs a good villain and I think Hugo Weaving has a great track record for bringing us villains who we truly fear and react to.

I can see the film sticking somewhat closely to the novel; the trailers seem to point to a rather faithful adaptation, (of course, that Hollywood filtered scar has been a negative talking point) which would mean multiple deaths throughout the movie. I think if they’re able to make us feel for these characters and have a connection to them leading to the brutal climax, this could be a great film, especially with the CGI spectacle to boot. However, if the characters turn out to be wooden tropes, and the dialogue is cliche as the trailers sort of suggest, it could tank the movie. For me, unfortunately, I’m kind of leaning slightly towards the latter; I think the main character will actually be an issue in terms of development and connection, however, a potentially interesting plot, interesting side characters that pull the story along, and a visual treat of the moving cities and their battles should bolster this movie.

Prediction: 7.5/10. Despite a slightly uninteresting lead, the world of the mortal engines nevertheless captivates you, with an interesting plot bolstered by the scene-stealing supporting cast.

 

The Wife Analysis/Thoughts

I recently watched The Wife starring Glenn Close, and thought there were many interesting points of discussion.

The Wife opens by setting clear the premise of the whole film; that the husband has won the Nobel prize for literature. We begin to glean the complications that would arise as the camera gives us our first close-up of Joan’s face while her husband receives the news; it’s a distant, sad, almost glazed look that will permeate the film as we encounter numerous flashbacks.

As the plane takes the duo to receive the prize, dark clouds set the scene for a turbulent journey ahead. We immediately see this tension when Joan is being introduced to members of the Nobel Prize committee; her husband casts a questionable gaze onto his young, pretty photographer, but most crucially, we detect the potent simmer of emotions when Joan is claimed not to be a writer.

We slowly discover the ugly truth that fuels the ongoing tension that brews, thanks in large part to the tremendous performances of Glenn Close and Jonathan Pryce, who reveal a particular bitterness in their expressions despite outward expressions of love. 

This dark undertow of bitterness is given meat when journalist Nathaniel Bone paints a decidedly more crooked portrait than that of the ‘Great Man and Great Man’s Wife’ public persona of the two (also explaining Joe’s earlier brusque treatment of Nathaniel) – that Joan had in fact ghostwritten all of Joe’s great works. She was the one with the golden touch, but as a female author at her university said, ‘a writer needs to be read,’ and being female just meant a much harder time getting published. 

Joan notably rebuffs him, and anyone, even her son, who leveled this accusation at her husband. 

This is despite Joe’s infidelity, that is revealed throughout the film to be almost pathological, becoming the inspiration for many of Joan’s novels.

This tension builds all the way until the night of the ceremony itself, where Joan is finally unable to contain the pent of resentment of being unrecognized as a writer. Their bitterness for each other is laid bare in a cathartic, explosive scene where Joan finally, audibly declares to the audience that the books were written by her, that they were her words. Their altercation is interrupted by a call where they find out that they are grandparents, leading to a brief moment of true affection between the two. It is short-lived however, as Joe suffers from a fatal heart attack not long later, and we see absolute desolation on Joan’s face, a testament to how she had loved him after all, despite the secrets and betrayals. 

In the after-light, Joan promises to tell those important to her – her son and daughter – the truth, while vehemently rejecting any form of public expose of her husband. This perhaps reflects how she’s decided that books were his stories, as they were inspired by his life, though written in her words. As the plane taking her home cruises into the light, we see her flip her notebook to a new page – a new start – and we can only surmise that she will crescendo into new life as a writer.

This film is very much anchored in the amazing performances of Glenn Close and Jonathan Pryce, who detail the toll of their secret reality with searing restraint, expertly elevating the tension throughout the film towards the explosive finale. The plot and script were decent, but definitely elevated by the lead performances.

Rating: 8/10

Crazy Rich Asians thoughts (by a Singaporean)

This review comes extremely late, as CRA is weeks into its historic box office run in the US, but I thought I’d just share some thoughts on it anyway.

loved the movie. The fact that it’s plot was striking of a run-of-the-mill rom com didn’t deter my enjoyment of the movie; it may even have enhanced it. Because this is the first time I saw a truly mainstream Hollywood with a full-fledged Asian (and not to mention highly Singaporean) cast.

Many western reviews have noted how it’s a fine portrait of Asian culture and society. Mostly, they seem to implicitly refer to Chinese American culture (making dumplings etc), however, I thought it did a fine job of displaying Singaporean values and culture as well, which was such an added bonus for me. Peik Lin’s family was not just comic relief, it was a nice quip at Singaporean’s obsession with things new and shiny, and the antics of the burgeoning nouveau riche. The snarky aunts that flank Eleanor in almost every scene are also a nice reflection of competitive family dynamics in a typical Singaporean household, where a spirit of one-upmanship and incessant gossiping is a mainstay. Of course, these may seem like generic tropes, but I thought they were imbued with a nice, authentic Singaporean touch and were tropes commonly seen in Singaporean films, giving it that added local flavour.

My favourite scene was definitely the Mahjong scene. The usage of such a popular game in Singapore in such a pivotal scene was nice, and I liked how it tied in with the very first scene we see with Constance Wu, where she wins a game of Poker because her opponent was playing to not lose, and not to win. Bringing this concept full circle at the end of the film, (with a change in the game from Poker to Mahjong being a nice nod to Singaporean/Asian culture), she talks about how Eleanor had made it such that any side winning had become impossible. She utilises the game to express this sentiment amazingly; Eleanor technically wins, at first, but then Rachel reveals her hand, showing how she’d given the game to Eleanor, rendering Eleanor’s win unauthentic. Here, we see how she’d played not to win, not to ‘not lose’, but to lose, and in the process had felt for the first time that she was ‘enough’. I thought this had a nice message of how assessing different permutations towards success wasn’t necessarily always the optimal way to grow as a person, rather, considering the value of failure or loss may prove more valuable.

Overall, just loved this film, and watched it three times because I had to. As for it’s Oscar chances, I think it should show up in some minor categories just as a nod to it’s significance as one for the history books, though a nod for Michelle Yeoh may well be possible if the stars align.

9/10

Comic Con trailers: Godzilla, Fantastic Beasts

Recently, I saw the trailers for the upcoming Fantastic Beasts and Godzilla films, and thought I’d pen down some of my thoughts.

First, the Godzilla trailer. I thought the trailer poised the film really well as a giant monster flick; the one shot where Godzilla spews his atomic breath into the sky with the military ship before him as a size comparison is a glimpse of the breathtaking scale of the visuals that I’m hoping permeates throughout the film.

I think Millie Bobby Brown is an interesting casting choice (if someone typecast). Assuming the trailer is simply playing up her popularity and that she is indeed the main human protagonist of the film, I think some interesting dynamics can be explored by the filmmakers in terms of size and stature, both physical and metaphorical. Her character appears to be small in size even relative to the other humans in the film, but perhaps her bravery will render her larger-than-life, comparable to the literal titans in the film.

I think the trailer does leave things somewhat vague, which is good, though those knowledgeable in Godzilla lore may note the presence of certain familiar rivals to the king of monsters and infer how it would play out. I suppose if the filmmakers were to follow pre-existing lore meticulously, we’d probably see a battle between two camps of monsters. (Godzilla and Mothra against Ghidorah in a CGI-explosive Act 3, where the human characters play their own minor parts but are largely left on the sidelines)

Next, Fantastic Beasts.

I liked how the trailer still placed some emphasis on the various fantastic beasts of the wizarding world. We even see some new ones! I had feared that the film would sidelines the beasts to place emphasis on the Grindelwald/Dumbledore storyline and more or less transform it purely into a Harry Potter prequel. Thankfully, the trailer seems to show that the film will offer a lot more. The line where Zoe Kravitz’s character observes how there was no monster Newt couldn’t love was particularly interesting to me. I feel that she meant this not pertaining solely to his care for the various beasts seen in the film, but also to the sidelined people or perhaps those seen as ‘sub-human’ because of various peculiarities. I think it’ll be interesting if the filmmakers explored this human-beast dynamic and what made someone or something constitute a beast. For instance, in our world, we may treat a dog infinitely better than we do another human being. What would that say about the status dynamics between beasts and humans?

x

Trailers: First Man, A Star is Born

In recent weeks, some trailers for several upcoming films touted to be big players at next year’s Oscars were released. I’ll give my brief thoughts on two of them: First Man and A Star is Born.

First Man appears to be as dramatic and Oscar-baity as you’d expect, with a lot of the trailer showing us the brooding Ryan Gosling as Neil Armstrong, whose inner turmoil he brings out in anticipation of the mission to the moon. It does seem like a lot of this film will be carried on his shoulders, so if it succeeds, I think he may be a lock of a lead nomination, especially seeing how favourable he’s been with Academy members recently (La La Land).

I think Claire Foy looks to be an electric foil to Gosling’s brooding Armstrong; her first scenes from the trailer show her to be loud and quick-tongued, and with her stellar work in The Queen, I think Academy members will give this TV star her first Oscar nomination, likely in the supporting category. The supporting, empowering wife figure seems to be a popular choice for Academy voters, especially when to a male lead who’s primely in the race (see: Felicity Jones, Keira Knightley, Ruth Negga). Claire Foy does seem to add no small degree of her own voice in this film, (she’s seen berating Neil’s colleagues in potentially scene-stealing fashion) and I think she may be a lock as well.

Onto A Star is Born, I think Lady Gaga looks great! Of course, she sounds great as well, and just from the trailer, I can detect definite chemistry between the two leads. I think this could really be a breakout for her, but she’d have to be really good, and so would the movie. When people remember that Cher won an Oscar back in the day, I’m not sure if Academy members view that as a historic moment or a ‘what were we thinking’ moment, so I think they’d want to be extra sure if they were to award a (former?) pop artist the biggest prize. A nomination definitely seems possible, though.