LOGAN : Awards Nominations and Wins

[jo]

Variety released a previous article zeroing in on the indies chances. This time, the discussions are for studio potential bets --

variety.com/2017/film/in-contention/midway-oscars-forecast-major-studios-aim-for-gold-with-spectacle-and-zeitgeist-1202479822/

Excerpts --

Twentieth Century Fox has a trio of prestige plays in store. For the holidays, Hugh Jackman stars as P.T. Barnum in Michael Gracey’s “The Greatest Showman,” though that could register more as a family film than an awards juggernaut. Meanwhile, Kenneth Branagh aims to dust off an Agatha Christie classic with the star-studded “Murder on the Orient Express.” But if ever there was a project that, sight unseen, felt destined for gold baubles, it has to be Steven Spielberg’s Pentagon Papers drama “The Papers,” starring Tom Hanks and Meryl Streep. A movie that will no doubt capture the zeitgeist with a portrait of the inherent need for a dedicated and judicious fourth estate will be formidable.

The Century City studio also has the most compelling case among the genre players: Matt Reeves’ “War for the Planet of the Apes,” which caps off that rare breed, a trilogy that bests itself with every new installment. More of a heart-wrenching drama than an actioner geared toward selling concessions, it’s a stunning accomplishment and one of the best films of the year. Andy Serkis will likely stir calls for Oscar attention yet again with his performance-capture work, and frankly Steve Zahn deserves to be there with him, in the supporting conversation. But while all of that is admittedly an uphill climb, fingers crossed that, at minimum, the Academy finally recognizes the groundbreaking visual effects of this series.


Fox is also working with Palestinian auteur Hany Abu-Assad (“The Mountain Between Us,” with Idris Elba and Kate Winslet), and sports a handful of animated hopefuls with DreamWorks’ “Boss Baby” and “Captain Underpants: The First Epic Movie,” and Blue Sky’s “Ferdinand.” It’s quite the diverse portfolio. Though it will be interesting to see what kind of conversation the studio can rekindle around James Mangold’s “Logan,” which hit theaters less than a week after the 89th Oscars rolled up the red carpet. The gritty neo-Western remains one of the year’s best, with a touching Patrick Stewart performance that deserves serious consideration. Can Academy members give the movie a fair shake, or is the stigma still too great (“The Dark Knight” excepted)?...

[jo]

DEADLINE looks at awards potentials from already-released films --

deadline.com/2017/06/oscars-half-year-boxoffice-blockbusters-lead-best-picture-race-1202122117/

Oscar Race At Mid-Year: Wonder Woman, ‘Apes’, Ex-X Men & Micro-Budget Horror Lead Charge For Best Picture – NO KIDDING!

by Pete Hammond

June 30, 2017 10:28am



Could Oscar finally be ready to place his Best Picture prestige on some genuine movie blockbusters for a welcome change? Sounds far-fetched but read on, but first a little explanation for this pipe dream of mine.


With the close of June today we are now at the halfway mark in the eligibility period for the 90th Academy Awards. Of course, the first six months in an Oscar race is akin to horses heading toward the gates at the Kentucky Derby. Oscar season doesn’t get underway in earnest until the Fall Festival trifecta of Venice, Telluride and Toronto in early September. Whatever serious contenders come  before are generally (but not always) regarded as long shots in a contest where October-December releasing is considered crucial to your chances.

Last season the earliest opening date for one of the nine eventual Best Picture nominees was August 11 for Hell Or High Water, and that was the outlier. Seven of the other nominees were all released in November and December, and the now-infamous Best Picture winner Moonlight got a jump start on October 10. On a sane planet where predicting Oscars used to be easy before the Academy started inviting the rest of the world to get heavily invested in the process (witness this week’s announcement of 774 new members), you could count on certain predictable patterns. No more.


But one thing remains relatively safe to predict: no film released between January and June will likely be a Best Picture nominee. Only two films opening before May in this millennium have even landed a Best Picture nomination (March releases Erin Brockovich in 2000 and The Grand Budapest Hotel in 2014), though there are occasional exceptions of May or June openings triumphing as Best Picture such as Gladiator, Crash, The Hurt Locker, Braveheart. But it’s rare, and getting rarer, as studios and distributors just don’t want to take the risk of losing awards momentum by going so early in the year.


A quick glance at some of the titles released so far this year points to a few specialty releases that probably have shots in some categories. Last week’s release of Sundance smash The Big Sick could even find its way into the Best Picture conversation, especially since deep-pocketed Amazon plans a large campaign and is dribbling it out slowly to build buzz across the entire summer. With 97% fresh on Rotten Tomatoes, critical support will be crucial to keeping it alive when the tsunami of Fall contenders start landing.

On another front I am reliably told (by its producers) the year’s top grossing feature ($1.2 billion or so), Disney’s live action take on Beauty And The Beast which opened in March, is also going to launch a serious campaign, targeting the Golden Globes Musical/Comedy category for starters. With mixed critical reviews (71% on RT)  and the general nature of the way winds are blowing at the Academy, landing a Best Picture slot is uphill (craft nods and a best song slot are very possible).


Beyond those two films are movies from 2017’s first half that could  generate acting nominations, and certainly deserve to be remembered, including Sally Hawkins and Ethan Hawke from Maudie, Salma Hayek and John Lithgow both sensational in the provocative Beatriz At Dinner, Richard Gere in perhaps the finest role of his still un-Oscar nominated career in Norman, Rachel Weisz in My Cousin Rachel, Laura Linney in the under-performing The Dinner, Kirsten Dunst for her theatrics in Sofia Coppola’s atmospheric The Beguiled, and a great Sam Elliott turn as a fading actor in The Hero. You can also throw in much of the cast of the aforementioned Big Sick, particularly in supporting for Holly Hunter and Ray Romano.
These are all deserving choices and personally I would add James McAvoy from the January thriller Split, in which he pulled off a character with 24 distinct personalities, or feel-good family movies Gifted with Chris Evans and Octavia Spencer  or the inspiring Megan Leavey with Kate Mara, but don’t count on it since their distributors probably won’t spend on a campaign, a must these days. Let me also give a shout out to Christopher Plummer, absolutely superb in A24’s WW2 thriller The Exception. In any normal world he would be a slam dunk for another Supporting Actor bid (he won for Beginners), but because it hit Direct TV before theatrical it is a long shot at best. Co-star Janet McTeer equally deserves recognition for this excellent but under the awards radar film.


But it is in the genres that snobbish Academy voters generally ignore where we could really see the race shook up.


Yes, I dare to say you have legitimate Best Picture possibilities with a comic book superhero movie, a film starring Wolverine and some warring Apes in their 9th cinematic incarnation,  and a micro-budgeted horror film from Blumhouse. No, I am not on crack but thanks for your concern. I realize more than anyone the long odds for these genre films but Wonder Woman, Logan, War For The Planet Of The Apes and Get Out  have all surpassed expectations and have taken their genre roots into uncharted territory with a genuine shot at Best Picture nominations from an organization trying to redefine itself. Wouldn’t that be something?  


You recall that the Academy in 2009 changed its Best Picture category and upped the number of nominees from five to a possible ten in order to make room for just this kind of critically acclaimed blockbuster movie most often ignored by Oscar voters largely I think because of genre. So-called popcorn movies should be relegated to the crafts, the assumption goes for the typical Oscar voter, and not much more. But with the success of  Mad Max: Fury Road nabbing 10 nominations including Best Picture, and winning six of them (for a May 2015 release no less!), perhaps things could be changing . It can really be put to the test this year if any, or even all, of these deserving movies break through.

No comic book film has ever been nominated for Best Picture (Deadpool was the latest to launch a failed campaign last season), but Wonder Woman (92% RT fresh score) seemed to instantly land in the zeitgeist and the cultural conversation in addition to being a kickass popular entertainment. Gravitas, box office, and the biggest film ever from a female director (Patty Jenkins) can do wonders in changing Oscar voters minds, or so I hope. Brand new Academy member Gal Gadot deserves some consideration too. The Academy has a big opportunity to make a statement here, while at the same time jump starting their slouching  TV ratings with some  crowd-friendly fare for a change.


Then there is the case of Logan (93% RT), a March release from Fox and Marvel that turned our expectations of an X Men movie on its head. This final Wolverine spin off was smart enough to change its name, sign on director and co-writer James Mangold, and take the whole series from which it sprung up several notches for an elegiac look at once-invincible characters approaching their sunsets. It deserves to be compared to great westerns like Shane more than to previous installments of a franchise that never got recognition from the Academy. Patrick Stewart merits a supporting nomination, and I imagine Hugh Jackman’s final turn in this role will only add to his chances for his December musical from the same studio, The Greatest Showman.
  


I include Matt Reeves’ War For The Planet Of The Apes on this list of first-halfers even though it doesn’t open until July 14. Fox has extensively screened it already, and it has a 96% fresh score on Rotten Tomatoes from over 50 critics , so it’s out there in force already. As the final part of an Apes trilogy that started with Rise, and then Dawn Of The Planet Of The Apes, this series is long overdue for some Oscar love and this is the movie that will lift it to a whole other level. The filmmaking is world class and breathtaking, and it is the perfect example of taking something you only thought you knew, and launching it into the stratosphere. If there was any justice Andy Serkis, as wise leader Caesar, would be recognized as well but actors continue to fear the performance capture process, a real shame.



Finally, did you wonder if you would live to see the day a micro-budgeted horror movie like director Jordan Peele’s February release Get Out (a whopping 99% RT Fresh score) could seriously make a run for Best Picture? But that is the fact for this wildly successful box office hit which takes a genre almost never recognized by the Academy and gives it real meaning and a strong message about the prevalence of racism in our society. It’s a powerhouse from Jason Blum, the producer best known for quickie moneymakers like the Paranormal Activity and The Purge series. He is now taking it up a notch, several notches in fact, while still making the studio a boatload of money. At the recent Produced By conference, no less a Get Out fan than Norman Lear moderated a session with Peele and basically fawned over the movie, a very good sign from a 94 year old Academy voter.

Despite the attributes of a few art house and indie entries, the real story at Oscar 2017’s halftime could be the surprising return of the crowd pleasing blockbuster. Of course we have seen this movie before and it always ends the same. If that happens this time around, chalk it up as a lost opportunity for the Academy of Motion Pictures Arts & Sciences – & Money, as Mel Brooks so famously put it in his 1969 Oscar acceptance speech for The Producers.

[jo]

and I imagine Hugh Jackman’s final turn in this role will only add to his chances for his December musical from the same studio, The Greatest Showman.

Could it go either way for Hugh?

But I do like the notion expressed by many that his portrayal in LOGAN may actually enhance his chances for awards honors for performance in THE GREATEST SHOWMAN!

Jo
  

[jo]

Could superhero movies and other summer season blockbusters make it to the Oscars?

www.thespec.com/whatson-story/7404009-why-summer-s-best-popcorn-movies-could-make-oscar-noise-this-year/


Excerpts --

"The award tides for blockbuster and comic-book movies seems to be turning," says Pete Hammond, awards columnist for the industry website Deadline.com. "There's a feeling that the film academy is too snobby for these types of movies. But this year, there are a lot more potential (nominees) already. Maybe one of these big movies can come up and defy expectations."

Here's why things are looking up in the awards running for blockbusters.

The movies are unusually strong

For every critically derided No. 1 this year ("Transformers: The Last Knight"), there are shining examples of quality with mass appeal. "Logan" brought a gritty end to Hugh Jackman's Wolverine X-Men character and earned a thumbs up from 93 per cent of critics on aggregate site Rotten Tomatoes...

[jo]

Is it going to happen -- can superhero movies/blockbusters enter the rarified air of Oscar recognition?


www.scmp.com/culture/film-tv/article/2101667/why-summers-action-blockbusters-could-be-oscar-contenders-come

[mamaleh]

Too bad there seems to be a surfeit of quality superhero movies out this year, lessening LOGAN's shot even if the AMPAS voters open their doors a little wider for the genre.

Ellen

[jo]

Another list of Best Films for the first half of 2017 -- LOGAN is one of the topnotchers!

www.winnipegfreepress.com/arts-and-life/entertainment/movies/thrillers-ruling-box-office-in-first-half-of-17-433189643.html

2. Logan
Hugh Jackman’s finale as Wolverine is part western, part family drama and all business, with the old retired antihero dusting off the metal claws one last time. The highlight is Logan’s relationship with his equally primal little-girl counterpart (Dafne Keen). They fight, bicker and ultimately love each other with an unequalled grace in the superpowered genre.

[jo]

NO mention of LOGAN and its actors for possible Oscar honors from films released in the first 7 months of 2017, per Scott Feinberg of THE HOLLYWOOD REPORTER --

www.hollywoodreporter.com/race/oscars-has-2017-seen-any-real-contenders-1018935

[hughmanity]

Only Patrick Stewart for supporting:

" veterans tend to do well in the supporting categories, so look out for Patrick Stewart, who is at the top of his game as the declining founder of the X-Men in James Mangold's Logan (Fox), an unconventional and acclaimed capper to that highly profitable franchise"


www.hollywoodreporter.com/race/oscars-has-2017-seen-any-real-contenders-1018935

[jo]

Oops, I thought I read that article twice ... I guess I missed that part. Unless Feinberg added the Featured actor category later on.

Jo

[hughmanity]

Still kind of baffling that Logan was not mentioned, at least alongside Wonder Woman, as a "game-changer" .

[jo]

Many Oscar watchers say Wonder Woman is being pushed because of the inclusivity issue. Sad to say!


LOGAN continues to lead the TOP SUPERHERO movies at ROTTAN TOMATOES, based on adjusted ratings using the Bayesian theorem of statistics, as of now.


Jo

[jo]

A film site puts LOGAN as the top movie so far for 2017, leading a list of 8 movies with very strong appeal and critical strength --

411mania.com/movies/the-moviestv-8-ball-the-top-8-films-of-2017-so-far/


Excerpts --

#1: Logan



Last year, I couldn’t believe that a Fast & Furious film had me exiting a theater with a bit of a misty feeling in my eyes. This year, it was Logan that captured such an honor. People always talk about how superhero films aren’t really art; they’re just highly choreographed popcorn fest designed to bring in huge profits for the studios. And sure, there’s some truth to that statement — and there’s also nothing wrong with a film that is just out to entertain — but then every now and then a film comes along to completely shut those arguments downand make the case that a superhero film can absolutely be art at its best. Logan is a classic example of that film. There are a lot of reasons that Logan was poised for greatness before it ever got released. Hugh Jackman has always been most strongly associated with the role that turned him into a worldwide phenomenon in 2000’s X-Men, and fans have always appreciated that the actor was a genuine fan of the character. But of course, that didn’t stop X-Men Origins: Wolverine from being a disaster. It took more than just a star who cared to make the Wolverine films great; it took the right script and the right director to come on board.

Those elements came from Michael Green as the writer and James Mangold as the director. The latter helped redeem the film series with his work in making The Wolverine miles ahead of X-Men Origins, and when the former came on board it was a match made in heaven. Green, Mangold and Jackman helped to craft a film that not only delivers plenty of thrills (and with an R rating, nonetheless) but also touched on some serious themes of guilt, loss and redemption that have long been a core part of Logan as a character. Jackman’s world-weary performance in the title role is his best work yet, with Patrick Stewart having a blast as a bitter old Charles Xavier. Dafne Keen is of course the real revelation here; as young Laura, she is a force of nature and captures the ferocity and vulnerability required in a surprisingly difficult role. I’m still not entirely sure if Fox won’t eventually convince Jackman to return by backing up a money-filled truck of truly epic size to his driveway, but if this truly is Jackman’s swan song than he ended on the highest note he possibly could. To me, there’s little question that Logan is the best film of 2017…so far, anyway.

[jo]

Anne Thompson, veteran Hollywood columnist, names the writing team ( Frank & Mangold) as a top 5 contender for Best Adapted Screenplay --

www.indiewire.com/2017/07/2018-oscar-predictions-best-adapted-screenplay-1201853697/

[jo]

A film blogger rates LOGAN as having fairly good chances at Oscar nominations --

culturedvultures.com/6-likely-oscar-nominees-2017-far/


Excerpts --

4. Logan

Released: March 3rd

Most Likely to Be Nominated For: Best Actor, Best Picture, Best Cinematography

Could Also Get: Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay, Best Director

For those suffering from superhero fatigue, Logan is the most likely film to fix that. Director James Mangold adapted the Old Man Logan comic to astounding effects, creating the Unforgiven of the superhero genre. It is a film that tackles legacy, religion and mythology all while being one of the bloodiest and most entertaining films to hit screens this year. The most likely nomination is a Best Actor nod for Hugh Jackman who has dedicated the last 17 years of his life to the character of Wolverine. Channeling his best Clint Eastwood impression once again, Jackman’s performance is equal parts charismatic and heartbreaking as we watch a once great superhero clinging to life through pain meds and a drinking problem. For his final performance, Jackman made sure to leave it all on the screen.

In addition to Jackman, Sir Patrick Stewart finishes his nearly two-decade tenure as Charles Xavier by putting a twist on the optimistic persona of Professor X by offering a wearied and dementia ridden Charles who is still trying to convince Logan that there is more to life than yourself. Newcomer, Dafne Keen is also deserving of awards recognition for her nearly wordless performance as X-23. Keen was a breakout as X-23 and played wonderfully off Jackman as a more optimistic and foul-mouthed version of Logan.

Superhero movies have an uphill battle in the Best Picture race, even when they are as phenomenal as The Dark Knight. However, there is a real chance that Logan could secure a nomination for its dark, gritty and realistic approach to a beloved comic book character. Mangold crafted a singular film that uses the X-Men films that came before it as a vessel of history on which to map Logan’s long and arduous journey. The film never gets bogged down in world building because it is not interested in setting up future instalments.

If he thinks the film has chances for Best Picture, acting honors, adapted screenplay, and cinematography -- shouldn't Mangold's directorial efforts be better recognized ?


Jo

[jo]

I am reprinting this from the thread AWARDS TALK FOR THE GREATEST SHOWMAN --

Goldderby's PAUL SHEEHAN predicts in various Oscar categories as of end-July -- in this case, for BEST PICTURE nominations :

www.goldderby.com/article/2017/2018-oscar-predictions-best-picture/

THE GREATEST SHOWMAN is among many LEADING CONTENDERS.

LOGAN is in second tier, among many STRONG CONTENDERS. Can you believe WONDER WOMAN lands in the first tier while LOGAN's chances are only in the second category. What is this? Popularity contest and social activism issues ... rather than exceptional filmmaking?? LOGAN has a higher overall critical rating ( 93% for LOGAN and 92% at Rotten Tomatoes for WW; average rating of 7.9 for Logan and 7.5 for WW also at RT ...also slightly higher Metacritic rating for LOGAN of 77% vs 76% for WW...and even IMDB raters puts LOGAN at 8.2 while WW only earns 7.9 approval -- first user review calls WW as "a silly action movie - no masterpiece!" followed by even worse fan critiques). If there is one superhero movie that deserves to be the first nominee for Best Picture ( sorry, The Dark Knight missed its chance) , it has to be LOGAN! *Rolleyes**Rolleyes*

I hope FOX is not hamstrung by its likely push for SHOWMAN and relegation of LOGAN only for outside chances. We have seen LOGAN and it was a critical hit as much as a commercial success. C'mon FOX-- give both movies equal chances! I know that it is pragmatic to push for one Best Picture candidate ( although FOX also has THE PAPERS) but in the " For your Consideration" campaign for Oscar nominations, shouldn't it also bat equally for LOGAN? Of course, with the way the SAG group within AMPAS might vote according to the rules ( it is a complicated and not an outright "one choice only"), maybe they think the second Jackman movie release might have a better chance. We'll see how SHOWMAN stacks up with the critics and audiences at yearend!



On the other hand, Michael Gracey is viewed as a possible STRONG CONTENDER ( second tier) among possible nods for Directors.

www.goldderby.com/article/2017/2018-oscar-predictions-best-director/

James Mangold only lands in the third tier ( POSSIBLE CONTENDERS) for LOGAN. I think this is not fair in relation to the work he did for LOGAN, which was ground-breaking and exceptional for the superhero genre.



Hugh Jackman is included in the first tier list of LEADING CONTENDERS for his work in THE GREATESTS SHOWMAN, while his work in LOGAN is completely ignored! But he gives Colin Farrell two chances in the third tier *rolleyes*

www.goldderby.com/article/2017/2018-oscar-predictions-best-actor/




We are not even sure what kind of role Michelle Williams plays in THE GREATEST SHOWMAN ( she is billed only after Zac Efron, so it is likely going to be a FEATURED/SUPPORTING role for Michelle), but Sheehan places her as a LEADING CONTENDER, with one other portrayal of hers in another movie also in the same category. It seems its her 4 previous nods which impresses Sheehan.

www.goldderby.com/article/2017/2018-oscar-predictions-best-actress/



Sorry, I am not very impressed with this predictor's ability!

For one, he seems not to like LOGAN that much and rates its chances lower than WONDER WOMAN ( ugh... I hate it when rationales other than artistic excellence are used for OSCAR consideration -- isn't the Oscar all about artistic excellence and not an award for social activism. Please don't let the OSCARS become overly political!

And he uses past performances ( and not knowledge of actual role or actual performance in current film candidates) mainly for his predictions ( guesses, more like it) *rolleyes*



One last thought -- wouldn't it have been wonderful had LOGAN and THE GREATEST SHOWMAN been released in different awards years ?


Jo

[jo]

It looks like some media ( in this case, someone featured in the much respected WASHINGTON POST) and readers agree WONDER WOMAN is not the best candidate to represent the superhero genre for this coming Oscar season --

www.washingtonpost.com/news/act-four/wp/2017/08/01/no-wonder-woman-shouldnt-be-nominated-for-best-picture/?utm_term=.ea58da86172e#comments

No, ‘Wonder Woman’ shouldn’t be nominated for best picture



By Sonny Bunch August 1 at 8:37 AM


Oscar season, like the political campaigns that Hollywood’s ugly step-cousins obsess over, seems to start earlier every cycle. So it shouldn’t come as any surprise that lobbying and jockeying for position have already begun in earnest for dark-horse contenders looking to better their odds in the brutal race to come. One long shot that should stay on the outside looking in?

It was hard to miss the spate of headlines declaring the Amazonian’s candidacy last week. Variety got the ball rolling with a report that Warner Bros. is considering a big-time push for the film to get a best picture nomination and for director Patty Jenkins to get a nod. And the reason Warner Bros. thinks now’s the time for a comic book to break through the pulp ceiling? The film’s brilliant artistry? Its director’s impressive filmmaking chops? The genius performances?


Nah. It’s just partisan politics. Or identity politics. Or some lame combination of the two.
“Insiders report strong reactions to the screening of ‘Wonder Woman’ at the Academy, as it’s been championed by a liberal Hollywood and a reinvigorated wave of feminism in response to Donald Trump,” Ramin Setoodeh reported. “The studio will also stump Patty Jenkins for best director, which would also be groundbreaking. No director of a comic-book film — not even Christopher Nolan — has ever been nominated, and only men have ruled the category since (and before) Kathryn Bigelow won the Oscar for ‘The Hurt Locker’ in 2010.”



Needless to say, the woke brigades were keen to hop on the bandwagon. And industry watchers all over are hyping its chances: Forbes, Collider, HuffPost, Esquire, etc. Everyone loves a good Oscar story, and everyone in the media loves to look nice and progressive — so everyone loves “Wonder Woman.”

And, for purely ideological reasons, I wish I could get on board with this campaign! After all, as I noted in my review of the film, it’s not every day that a major Hollywood blockbuster treats enhanced interrogation techniques for laughs and views as villainous politicians whose pursuit of peace will only cause more death and destruction. It tickles my interventionist bones in just the right places to see a movie about the need for the strong to protect the weak receive near-unanimous praise from liberal film critics who undoubtedly sneered at Dubya’s second inauguration. I’d love to stick it to the prigs in the Arab states that boycotted this film for daring to star an Israeli actress. If political considerations are to trump artistic ones, well, hey: There’s a great right-wing case to be made for “Wonder Woman.”


Alas, I’m the naive sort that believes artistry should matter in the race for the Oscars. Leave aside the question of whether or not the Academy should nominate comic book films — and, for the record, I think it should, along with other genres that often get ignored such as comedies and sci-fi — and just consider the simple fact that “Wonder Woman” is, frankly, the third-best comic book film of the year.


At best.

Again: I quite liked “Wonder Woman”! But it is strangely deficient in ways that matter to comic books. Just as a for-instance: Explain, citing examples from the film, the limit of Diana’s powers and the extent of her vulnerabilities. I don’t need to know how those bracelets work, exactly — I’ll save that level of pedantry for Neil deGrasse Tyson. “Magic” is a fine answer — but it would be useful to know how often she can use them, how limited their range is.



As far as storytelling or filmmaking goes, there are other, superior options in the genre. “Logan” was a surprisingly poignant meditation on the ravages of old age and the pain of letting go of elderly loved ones. (As a bonus, it too had something to say about our times.) “Spider-Man: Homecoming,” meanwhile, was funnier than “Wonder Woman” with a better finale, a more absorbing and relatable villain, and a more impressive supporting cast.


And, honestly, “Atomic Blonde” is probably the most absorbing film adapted from a comic book starring a woman released this year: The Cold War action-spy flick — “Tinker Tailor Soldier John Wick,” if you will — starring Charlize Theron is intricately plotted and shot with a sort of garish beauty, half blinding neon, half brutalist decrepitude. It also has the single best fight sequence of the year, a 20-or-so-minute, faux-single-shot scene staged in a way that makes you feel the exhaustion that comes with extended hand-to-hand combat. It’s a technical marvel, one of those real “wow, how did they do that?” sequences, the subtle fakery and hidden edits of which put the CGI bluster of “Wonder Woman” to shame. Plus, for those of you looking to check off more identity politics boxes, it’d be one of the few films to garner a nomination that starred a bisexual lead character. So it’s got that going for it.

I know we fans of comic-book movies have been clamoring for a flick like “Wonder Woman” to break the pulp ceiling for years now, but there’s an important question we need to ask ourselves: Do we really want the third (or fourth) best comic-book movie in the year it was released to be the one to do it? I’m not saying “Wonder Woman” doesn’t deserve some nominations or even the odd win — I could be persuaded to throw Chris Pine a statue for his stirring supporting work — but, as someone who quite enjoys both comic-book movies and the Oscars, I do hope we could hold off on politicizing and devaluing the award in quite so naked a fashion.

I totally agree!


Do check out the comments!


Jo

[jo]

I've just rewatched LOGAN... and it always leaves a feeling of being emotionally distraught and even exhausted, seeing this intense character study of WOLVERINE at the end of his days. It also leaves a feeling of completion...as the final moments connote a final redemption for this man, who has always been riven by what he is!

But what a compelling and nuanced performance from Hugh Jackman! From his smallest gestures, facial expressions, of course his intense action scenes, even the consistent limp as well as how he expresses his feelings of outrage, sadness, pessimism, impatience, intent , and the look of peace that enveloped him at the end -- how can this portrayal not be recognized by fellow actors?

One great example is the first encounter with Charles. Many of us might have focused more on Patrick because his old Prof X was so different from the aristocratic leader we were used to in the past. But if you focus more on Hugh's acting -- it is very layered as he confronts him for not being an ideal patient, struggles with the main mutant in one of his brain convulsions, hovers between impatience and sympathy for him, and then practically gives his mentor a parent's lullaby as he puts him to sleep.

Hugh was also very good in another instance -- when he realized what might have happened to Charles ( choosing him, to see if he can protect him, over his daughter who was being kidnapped by X-24)... Logan helpless as he looked at his dying mentor and repeatedly saying : "It wasn't me!". That moment almost equals his own final words with Laura in terms of poignancy and dramatic impact!

Fox has to give this movie and those performances a major boost for awards consideration! More than anything else -- this is what Hugh, Patrick, Dafne, and James Mangold deserve... more so than any financial bonus... for such an excellent film!


Jo

[jo]

http://instagram.com/p/BUcX9mmAkiI

A rare moment -- a seemingly downcast Logan/Wolverine!

One of the nuanced portrayal moments in the film from Hugh Jackman!

[jo]

A bloggers argues that LOGAN is the only superhero movie that deserves Oscar consideration! And she does it in a very compelling manner!

creators.co/@thatsimpleroxy/4339965

[jo]

What could be more worthy of an Oscar Best Picture honor than to be " a deeply human film"?

[mamaleh]

Aug 4, 2017 5:51:04 GMT -5 jo said:

A bloggers argues that LOGAN is the only superhero movie that deserves Oscar consideration! And she does it in a very compelling manner!

creators.co/@thatsimpleroxy/4339965

Absolutely agree.

Ellen

[jo]

screenrant.com/guardians-galaxy-michael-rooker-oscar-nomination-gunn/


Excerpts --

Given the Oscars’ history of generally favoring dramatic work over everything else, Marvel and Disney would be facing an uphill battle launching a campaign for the major categories for a superhero movie, considering those films traditionally are honored more for their technical merits over everything else (the one exception being Heath Ledger’s posthumous Best Supporting Actor Oscar win for playing The Joker in 2008’s The Dark Knight).

Playing in Rooker’s favor, however, is the changing makeup of the membership of the Academy of Motion Picture Arts and Sciences, which clearly made a statement this summer by inviting 774 new members (in an attempt to bring youth and diversification to the organization), many of which with superhero or fantasy film credits including Gal Gadot, Dwayne “The Rock” Johnson, Adam Driver, Margot Robbie and Joss Whedon.

Should Marvel and Disney campaign for a nomination for Rooker, they’ll be in good company since Warner Bros. is reportedly planning to seek Oscar nominations for Best Picture for Wonder Woman and its director, Patty Jenkins. Plus, Fox would be making a huge mistake if they didn’t give the same consideration to Logan and launch at the very least campaign for Hugh Jackman for Best Actor, Dafne Keen for Best Supporting Actress and James Mangold for Best Director (in addition to Best Picture).

If at the very least one of this year’s superhero offerings isn’t given a fair shake come Oscar time, Smith is right:“There is no justice in the world,” at least when it comes to world of movies.

And LOGAN is a dramatic movie, more than it is an action or superhero film! It is an excellent character study of the saga of Wolverine!



Jo

[jo]

I am reposting something almost identical on AWARDS TALK - Greatest Showman.. except here I would like to highlight how it affects LOGAN --

deadline.com/2017/08/academy-president-john-bailey-interview-diversity-best-picture-oscar-academy-museum-1202148924/


The new AMPAS president John Bailey, 74-year old former cinematographer but AMPAS Board of Governors member for a long time, white. male, was recently interviewed by DEADLINE -- it looks like he is going on a similar advocacy as the past president ( even if the speculation with his election was that it signaled a desire of the old-boys-club at the AMPAS to a return to old practices) --

He also has put his money where his mouth is when it comes to the hot button issue of diversity that exploded at the Academy during two consecutive years when not a single actor of color was Oscar- nominated. He believes it has to start in the industry itself, that the Academy can only do so much in finding qualified members with a career befitting entry into the group. “I have been hiring men and women of different ethnic, socio economic and racial types ever since I have been shooting movies because it is important to me. This whole notion of the Academy moving toward diversity I completely support and laud, realizing there is only so much the Academy can do,” he said pointing out that it needs to start with the studios, and in particular the casting directors who not only have to be color blind, but ethnicity blind and gender blind going forward, even when the script calls for something else in many cases. Among those officers serving with him on the new Board as Secretary is indeed a casting director, David Rubin who unsuccessfully ran for the President’s job last week, losing to Bailey.

*I hope the diversity theme also extends to the genres that the AMPAS does NOT favor -- the superhero movie which is very well-made should get an even chance to be nominated for an Oscar. Many think that because of their mostly simplistic plots focused on physical conflicts and not too deep characterizations of protagonists/antagonists that superhero movies do not merit recognition from the awards community. There are exceptions and these types of superhero movies should be able to compete with other movies for Best Picture...and not just relegated to technical, usually-technology-based awards.



*If they have done an excellent acting job, actors in the superhero/action movie genre should also be given a chance to be recognized, not because they are generally in blockbuster movies but that their acting can stand head to head with other dramatic or comedic or musical actors.

I hope they also think that diversity includes not having the same actors being honored year after year or film after film -- I cannot believe that they have a monopoly on talent! Also, that acting honors should not be monopolized by dramatic movies actors/indie actors/dramatic biopics actors only. No flavor of the months either because the movie is different, not because it is outstanding in all respects.

Jo

[mamaleh]

On a lesser awards note, did anyone notice that over the weekend teens across America chose WONDER WOMAN over LOGAN for Best Action Movie at the Teen Choice Awards? And Chris Pine of that movie over HJ's towering performance in LOGAN? My diagnosis: addled brains from nonstop staring at their devices' little screens all day.

Ellen