Tag Archives: Eddie Redmayne

Fantastic Beasts and Where to Find Them

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“You endangered human life. With a beast.”

It’s a strange feeling to walk into a screening of a film based in a universe you are completely indifferent about, starring an imbecile you really don’t want to watch on a big screen again, completely expecting to hate every minute; only to walk out a couple of hours later desperately clawing for something negative to say because as much as you enjoyed it, you still really, really want to hate it.

So, that Fantastic Beasts nonsense, huh? It’s a bit long, innit?
That’s all I’ve got. Seriously.

Having just completed a worldwide expedition documenting any and all magical creatures he can find, Newt Scamander (Eddie Redmayne) arrives in 1926 New York with a suitcase filled with the beasts he’s been collecting. When one of his creatures escapes from the bag he’s carrying and causes a little carnage in a bank, it puts the young wizard in the path of regular, non-wizard, New York citizen Jacob (Dan Fogler) and into a situation where the pair accidentally switch cases. After more of Newt’s creatures get loose and start causing havoc, he convinces disgraced magical investigator Tina Goldstein (Katherine Waterston) to help him recover the case and its contents.

While in New York, Newt finds himself tangled up with the local investigative arm of the Magical Congress of the United States of America and a strange entity that is terrorising the city making it really tough for the wizard community to live in secrecy from the rest of the world (I will not say muggles, I will NOT say muggles). Being chased by Percival Graves (Colin Farrell) and trying to unpick the mess that New York is in at the same time needs Newt, Tina, Tina’s sister Queenie (Alison Sudol) and Jacob to work together to beat the magical forces seemingly around every corner stacking the odds up against the group.

Fantastic Beasts and Where to Find Them is an interesting… beast. Essentially a prequel to the Harry Potter series and set in a different country, long time Potter director David Yates gets to have fun inside this world (let’s be honest, Harry Potter is the only time this guy does well. *Cough* Tarzan *cough*) and yet he gets to build a whole new world inside of it. Whole new, somewhat simplified, names for things we’ve all come to know in this universe are here for us to learn. But we learn with Newt, who, as a former Hogwarts student, knows all the stuff we know and has to unlearn everything as we do.

Muggles (God-fucking-dammit) are now No-Mag’s (yeah, seriously, no magics – told you it was simplified), the counsel now has a fun sounding acronym – MACUSA, said how it’s spelt, like a second-rate bond bad guy. And plenty more I won’t spoil here. But amazingly, as a person indifferent to Harry Potter and its legacy, I managed to keep up with everything, keep track of what was going on and understand almost everything said on screen – something tells me that’s the point of this nice new/old setting. Those like me can still enjoy and get invested in a world so many others have lived in for a long, long time.

But the stars of the show are, as the title suggests, the Fantastic Beasts. Inside Newt’s bag – a bag that puts Mary Poppins’ bag to shame – live some of the greatest monsters ever put to film. From the tiny stick insect lookalikes to the enormous rhino-a-like that spends a bit of time totalling New York City Zoo and forcing Newt to do one of the stranger things you’ll see in this film as he does an insane mating ritual to try and entice this thing that looks like a dinosaur back into his case. Winged beasties, invisible troublemakers and a collection of dragons makes Newt’s case a modern day Noah’s ark. Just with animals on board that could set it on fire!

But man, the effects team have done an outstanding job on the creatures. You could literally go to the cinema just to see the Beasts on the big screen and not bother with the rest of the film and still come out satisfied.

Like I said back at the start, the film could definitely do with trimming maybe half an hour from its run time. The film felt very, very long and by the time I got to the end, as fun as it was, my arse had had just about enough of the torturous run time and was begging me to get up and go for a walk. More than a few scenes could’ve done with a couple of minutes shaving from them to tighten up what is otherwise a decent film.

The direction is everything I’d expect from a Harry Potter veteran and even the performances were universally good to very good – even from Redmayne, a man I only recently spent time on the podcast slating for his lack of ability to do anything but look like an effeminate piece of cardboard. I mean, he’s still the big screen equivalent of a lumpy fart, but I didn’t utterly hate him this time around. Overall, though, everyone did their part and made it an entertaining couple of hours.

Now the universe has been built and the series bad guy has been introduced, I expect a much better, much tighter sequel in a couple of years. But until then, Fantastic Beasts and Where to Find Them is a surprisingly fun outing and a refreshing take on a rather stale world.

The Danish Girl

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“I’ve only liked a handful of people in my life, and you’ve been two of them.”

Sometimes, a film can be so powerful that simply watching it emotes such a strong feeling about its themes and subjects that you can’t help but sympathise with the characters on the screen. No matter how far removed you are from these on-screen personalities, you can’t help but get yourself worked up, wanting the best for these people and getting angry when things aren’t going the way they should.

Sadly, The Danish Girl isn’t the film to get you going like that. Instead, it’s a complete waste of two hours that resolves nothing and invoked nothing but boredom and annoyance no matter how hard I was trying to sympathise with those onscreen.

Another one of these “inspired by true events” films, The Danish Girl is the story of Einer Wegener (Eddie Redmayne) a man who – after his painter wife Gerner (Alicia Vikander) asks him to stand in for a female model who didn’t show up for a portrait session – suddenly finds himself intrigued by the feelings that the women’s clothes he’s had to wear bring out in him. As time goes on, Einer develops a taste for not just wearing the clothes, but playing the part of a woman. Encouraging her husband’s desires, Gerner helps to make the man she married feel comfortable in his own skin and teaches him how to make himself look like the woman he yearns to be.

But this is the 1920’s. Not only is this not the done thing, it’s something you can be committed for. So he keeps his secret while spending more and more time being the woman he now believes he was born to be. As he gradually becomes she, Einer’s alter-ego Lili becomes the prominent and dominant personality and his marriage dissolves until it becomes little more than a convenience for the pair of them. As Lili’s personality grows and she allows herself to spend time with other men, Gerner is nothing more to him than the woman that taught him how to be a woman.

I watch films like this for more than just entertainment. They should be gateways into a world that I can’t understand and genuinely want to understand. I can’t even begin to pretend to know what a transgender person goes through; the turmoil and the suffering of having to live in a way that simply doesn’t feel natural to them. I desperately want it explained in such a way that I, a complete meat head, can understand. Unfortunately, that’s not what I get with The Danish Girl. What I get is a two hour long fluff piece, made on the back of a couple of years of LGBTQ issues being in the spotlight, from a director (Tom Hooper) who seemed to peak with The King’s Speech and is content to sail through on a sea of mediocrity in the years following.

The story of the man that ultimately becomes one of the first recorded people to receive gender reassignment surgery is not only handled poorly but I simply can’t find it in myself to care for the people on screen. Vikander’s performance is great (as her performances always are) and when this film gets the politically correct nominations at Oscar time, hers will be the only one deserving of the nomination. On the flip-side, Eddie Redmayne needs to do us all a favour and just stop. I don’t find him believable, I don’t find him likeable and I definitely think he should have become famous playing Doctor Who and staying away from films that should be culturally important but can’t be because of his presence.

Do yourself a favour. If you want a poignant and powerful film about the struggles that transgender people go through, leave this half-arsed Oscar-bait alone and find yourself a copy of Kimberly Pierce’s Boys Don’t Cry, because this film, and Redmayne’s performance, pale in comparison to Hilary Swank’s genuinely hard hitting drama.

Jupiter Ascending

Smart about being Stupid.

by Jackson Tyler (@Tylea002)

jupiter ascending 2If you’re anything like me, then you love Speed Racer with all of your heart. Eviscerated upon release, it has come to be seen as the Wachowskis’ true masterpiece by a growing segment of those who are referred to in hushed tones as “film people.” They’ll tell you it’s actually beautiful and earnest, a pure expression of the potential of cinema without a cynical bone in its body. I am one of those film people, and I am here to tell you that it’s happening again.

Jupiter Ascending is not the quite cinematic revelation that Speed Racer was, buts its more conventional aesthetic choices are balanced with its nostalgic commitment to genre and a greater thematic richness. A space opera in the most literal of senses, it is a melodramatic love story, a wondrous tour through decadent costume and set design, and a pointed takedown of the underlying amorality of capitalism.

Summarising Jupiter Ascending is more than a little difficult, the plot initially laying the groundwork for a chosen-one teen drama, before instead shifting into the action-packed proceedings of intergalactic corporate legalese. Warring members of one of the universe’s largest family businesses fight over the deeds to the Earth, and somehow at the heart of all this is Mila Kunis’ Jupiter Jones, a poor girl still cleaning toilets every day. She is the film’s emotional heart, swept up into the drama through nothing but chance, shepherded from plot point to plot point, a cog in a machine that cares not one iota for her agency or personhood. The convoluted story and Jupiter’s passive nature are reminiscent of recurring complaints levied at your Twilights, your Divergents etc., but here the film elevates them from narrative flaws to integral thematic components. Jupiter Ascending doesn’t inherit the problems of its genre, it confronts them.

All that makes Jupiter Ascending seem like a dry affair, but the reality couldn’t be further than the truth. It’s dripping in camp, from Eddie Redmayne’s villainous drawl to the time it decides to just turn into Brazil for about five minutes. The film’s true strength is the lost art of sincerity, it embraces the inherent stupidity of its space opera universe and still commits to every single beat. Much like Lucy last year, it is smart and stupid in equal measure, celebrating its pulpy nature and never undercutting either it or its thematic ideas in order to bolster the other. I like Guardians of the Galaxy as much as the next guy, but if the only way we’re going to get space bombast in the future is to couch it in a self-effacing layer of snarky detachment, then we’re living in a sad world indeed.

Ultimately, these are not the words I truly want to write about Jupiter Ascending. Those words would be full of spoilers, a parsing of the films specific themes and ambitions, a celebration of every campy line read and overwrought piece of set design. It is a film that demands its audience to meet it half way, and if you do, there is so much worth talking about on the side. For a film that also features Bees genetically engineered to recognise space royalty, I cannot think of a greater compliment.

Be on the right side of history, this time. Go see Jupiter Ascending, then we’ll have the right conversation.

Jupiter Ascending is in cinemas in the UK right now (finally) and you can find Jackson Tyler on the gaming blog and podcast site Abnormal Mapping. If you like the site, why not support them via their Patreon page?

The 2015 BAFTA Nominees Rundown

With the 2015 BAFTAs coming up, Callum Petch guides you through the likely winners and losers of all of the major categories.

by Callum Petch (Twitter: @CallumPetch)

We have one final stop on the awards train before we reach The 2015 Oscars in almost exactly one month’s time, and that’s The 2015 British Academy Film Awards.  The BAFTAs, for those who don’t know, celebrate the best in the past year of film with an added British tinge due their being a British awards body and all.  Although their main purpose for people like us is to get one last indicator as to how The Academy will be voting come February 22nd, since all of their nominations and eventual awards typically line up with one another.

So, that’s what we’re here to do.  With the awards themselves in just over two weeks, and my having seen just about every single one of the major nominees, I am here to guide you through the major categories, tell you who I feel deserves to win, who you should probably put your money on if you’re a betting kinda person, and any snubs, rule-flaking inclusions or just plain weird things that caught my fancy.  We’re not covering all of them, because we’ll be here all day – although other members of the site may fill in those blanks later if they wish – but we’re doing most of them.  So, without further delay, GRAPPLING HOOK!


lefoBest Animated Film

Nominees: Big Hero 6, The Boxtrolls, The Lego Movie

Who Should Win: Soooo…  I know that I’m supposed to say The Lego Movie, and I do really, really like The Lego Movie, but…  Big Hero 6 is currently playing to my heart way more.  I’m sorry, but it is!  I was actually sat writing about Kung Fu Panda 2 the other day when this quietly devastating yet heart-warming scene from Big Hero 6 popped up into my head and now I just want to go and spend more time with that cast again.  I’m sure whenever I eventually get around to watching The Lego Movie again, I’ll put that back on top but, yeah, I guess I’m switching teams and rooting for Disney.  Sorry, folks.

Who Will Win: Time was that I would say that this was The Lego Movie’s to lose, but with How To Train Your Dragon 2 upsetting it at the Golden Globes and not even being considered in the Oscar category – although I still find that a mostly strong list, so I’m not going to complain much – I really don’t think this is a safe bet anymore.  Big Hero 6 is Disney, so that will always be in the running, and awards bodies are really loving The Boxtrolls it just racked up 13 nominations at this year’s Annie Awards (which, incidentally, is a very lazy set of nominees this year, but this is not the place to talk about that) – so that has a good shot.  My money’s still on The Lego Movie leaving with the award, but don’t be surprised if either of the other two take it instead.

Other Notes: The BAFTAs have always only had three nominees for this category, so that makes snubs more obvious but also, sometimes, more understandable.  Although I was lukewarm on it, I am glad to see Laika rack up another nomination with The Boxtrolls and it deserves that spot more than How To Train Your Dragon 2.  That being said, colour me disappointed that there’s no room for The Book Of Life, which sadly seems destined for cult status rather than mainstream acceptance.  Also, even though there was clearly no chance in hell of it ever happening, I would like to have seen the genuinely excellent My Little Pony: Equestria Girls: Rainbow Rocks get a look-in.


71Outstanding British Film

Nominees: ’71, Paddington, Pride, The Imitation Game, The Theory Of Everything, Under The Skin

Who Should Win: Under The Skin is a film that deserved far more love and attention from awards bodies than it has gotten, although the fact that it’s slipped away with barely any recognition outside of the BAFTAs – Mica Levi’s excellently unsettling score is also up for an award – is kinda fitting really.  It is really not a film for everyone, but its quiet study of gender, sexuality, and gender performance – as well as its quietly furious screed about how casually, and occasionally outwardly hateful, sexist society views and treats women – is utterly gripping and compelling viewing for those willing to work for their films, and Scarlett Johannson puts in the single best performance of all of last year in it, too.  It’s my no. 5 film of 2014, and it deserves this award.

Who Will Win: It won’t, though.  Not by a long shot.  Nor will Paddingtonwhich I did like but don’t get the intense passionate love that critics and audiences are throwing its way – nor will ’71, and most certainly nor will Pride.  See, The Imitation Game and The Theory Of Everything are up for Best Film and it looks real bad if the films that are up for Best Film don’t win Outstanding British Film.  The Weinsteins have been campaigning hard for Imitation Game, but this is the home turf of Working Title’s Tim Bevan and Eric Fellner, which may sway voters towards The Theory Of Everything.  I’m leaning more towards the former, though, so those of you looking for a definite bet should put money on The Imitation Game.

Other Notes: Starred Up should really be in contention.  One of the best British dramas in years and it’s kept out by two slops of porridge?  Ugh.  Ditto for Richard Ayoade’s The Double, which everybody seems to have let undeservedly slide into the background since last April.  I can’t really complain too much, though, 2014 was a very good year for British film and I’m just glad we’ve gotten actual British films filling up the list this year.  You know, unlike last year.


GHB_9907 20130130.CR2Best Original Screenplay

Nominees: Wes Anderson & Hugo Guinness for The Grand Budapest Hotel, Damien Chazelle for Whiplash, Dan Gilroy for Nightcrawler, Alejandro Gonzalez Iñárritu and Nicholás Giacobone and Alexander Dinelaris Jr. and Armando Bo for Birdman, Richard Linklater for Boyhood

Who Should Win: Nice strong list here.  As much as I like Whiplash and Birdman, though, I feel that they are great scripts that are elevated to excellent scripts by everything else from the movie – performances, direction, editing, etc. – so I’m not particularly rooting for them.  The script for The Grand Budapest Hotel is excellent, managing to balance whimsy and light-hearted farcical caper antics with this constant undercurrent of sadness and melancholy, a tale of men born out of time and a nostalgic longing that is admirable but foolhardy.  Meanwhile, Nightcrawler’s script has a tonne of things to say about capitalism, the media, classism, business, and the kind of sociopathic monster that one can be yet still win in our broken society.  I’m good with either of those taking it, leaning more towards Nightcrawler.

Who Will Win: This will be The Grand Budapest Hotel’s consolation prize.  Sure, it received 13 nominations overall, but most of those were in the technical categories that, although deserved, most people, and especially headline writers, don’t care about.  This is where it gets its due in the major categories, to apologise for it having no chance in anything else.  Whiplash has garnered enormous traction as of late, but I still don’t see it going over Grand Budapest here; this one’s basically set in stone.

Other Notes: You will notice that I left out Boyhood whilst I was going through complimenting the nominees.  We’ll come back to that.


gone girlBest Adapted Screenplay

Nominees: Jason Hall for American Sniper, Gillian Flynn for Gone Girl, Paul King & Hamish McCall for Paddington, Anthony McCarten for The Theory Of Everything, Graham Moore for The Imitation Game

Who Should Win: Gillian Flynn for Gone Girl.  Duh.  I really don’t have to say any more than that, do I?  Considering the rest of this field, I really don’t think I do.

Who Will Win: This field is suspiciously weak, full of films that have nothing to say or actively steer themselves away from having anything to say about their subjects or themes (although I do find that a plus in surprise nominee Paddington’s case), almost like it’s been designed with the express purpose of making sure that Gillian Flynn will win.  Hmm, funny that.

Other Notes: Something that became immediately clear to me when this season’s awards films were lined up like this: this was very much a year of films, and especially biopics, about men that spectacularly failed to have anything to say about the men that they’re about.  I mean, this is often a problem with awards bait films – failing to have any thematic arc or insight into their subjects but superficially arranging the beats of a feel-good story to create the illusion that something is being said – but it’s especially true this year.  Maybe that’s a sign that we should diversify who we tell our stories about?


Film Review FoxcatcherBest Supporting Actor

Nominees: Steve Carell as Jon du Pont (Foxcatcher), Ethan Hawke as Mason Evans, Sr. (Boyhood), Edward Norton as Mark Shiner (Birdman), Mark Ruffalo as Dave Schultz (Foxcatcher), J. K. Simmons as Terence Fletcher (Whiplash)

Who Should Win: J. K. Simmons, hands down, no contest.  If you disagree then, quite frankly, you just haven’t seen Whiplash.  Simmons takes the two registers that he typically operates on – hammy shouting fury, and warm paternal comfort – and weaponises them to stunning effect, adding nuance to the character of Fletcher whilst still frequently keeping him at the level of a complete monster.  He is utterly sensational as this utterly inhuman force of nature and rage and he deserves this award far more than anyone else.

Who Will Win: Good thing that he’s guaranteed the win, then.  He’s basically been on a well-deserved awards tour which, on February 22nd, will culminate with the 60 year-old taking the stage at the Dolby Theatre in Los Angeles to collect his first ever Oscar.  For one of our best and most consistent character actors for the last 20 years, in a career-defining role, it will be incredibly satisfying to see.  We’ll get a taste of that feeling at the BAFTAs and it will be wonderful.

Other Notes: Two well-earned nominations for Foxcatcher, although Steve Carell’s appearance here reeks of canny studio awards gaming.  I mean, Best Actor has been a tight lock for months and the chance of anybody unexpected breaking in is slim, so why not position one of the leads of the film as a Supporting Actor in the hopes of at least scoring a nomination?  Of course, there is a case to be made for Ruffalo also being the main character in Foxcatcher, too, but I think this all says more about the clever protagonist shuffling nature of Foxcatcher than anything else.


imitation gameBest Supporting Actress

Nominees: Patricia Arquette as Olivia Evans (Boyhood), Keira Knightley as Joan Clarke (The Imitation Game), Rene Russo as Nina Romina (Nightcrawler), Imelda Staunton as Hefina Headon (Pride), Emma Stone as Sam Thomson (Birdman)

Who Should Win: It takes a damn strong actress willing to put in the extra work to not have the film completely whisked away from them by Jake Gyllenhaal in Nightcrawler, but Rene Russo was more than up to the task.  She excellently embodies a woman who has to fight every day for the power she wields, who hates having to rely on Lou Bloom but recognises his value, and seizes on every possible advantage and opportunity in a desire to raise her stature and influence.  She’s a more socially acceptable version of Lou Bloom, basically, only with some inherent sympathy ingrained in her due to the institutionalised sexism of her line of work, and Russo nails it all totally.  So, yeah, I’m on the Russo train.

Who Will Win: Patricia Arquette has been the front-runner since the second Boyhood had its festival premieres, she has been sweeping practically every awards body that nominates her, and if she doesn’t win the Oscar I will be utterly floored.  She’s going over here.  I am fine with that, she is quite literally the only thing I actually liked about Boyhood, but I’m still going to be a little bitter regardless.

Other Notes: Nice to see Pride get a non-Britain-specific nod!  Really annoyed that it’s not for any of the cast members who played a homosexual – who were the actual goddamn protagonists for that film which, lest we forget, is the reason why Pride works – but at least it’s being recognised for something; that film was a very nice surprise for me.  In terms of snubs, four words, to be repeated for Best Actress: where is Emily Blunt?  Seriously, between Edge Of Tomorrow, Into The Woods, and even her voice work in the dub of The Wind Rises, she’s spent the last year reminding us all that she’s one of the best actresses in film today, but we’ll snub her totally come awards time?  I don’t get that.


TTOE_D17_ 05356.NEFBest Actor

Nominees: Benedict Cumberbatch as Alan Turing (The Imitation Game), Ralph Fiennes as Gustav H. (The Grand Budapest Hotel), Jake Gyllenhaal as Louis Bloom (Nightcrawler), Michael Keaton as Riggan Thomson (Birdman), Eddie Redmayne as Stephen Hawking (The Theory of Everything)

Who Should Win: My heart wants Keaton to win, because it’s Michael Keaton, he is great in Birdman, and I want nice things to happen to the guy.  However, my head has to admit that Gyllenhaal put in the better performance this year – the much better performance – and so I’m backing him to take home the statue.  Plus, based on how The 2014 Failed Critics Awards went, you all would probably tear me shreds if I didn’t.

Who Will Win: All signs point to Eddie Redmayne taking this one with very little effort.  This category has been a constant fight between Redmayne and Keaton since awards season started up in earnest, but the splitting of their performances into separate “Drama/Comedy” categories has made it harder to gauge which is taking the biggest prize home with them.  Keaton has the comeback and long-overdue narrative ingrained in a victory that awards bodies love, but Redmayne has the exact kind of showy, yet empty and trying-way-too-hard performance that awards bodies love.  I think Redmayne is going to take it here, also because he’s on home turf, and then he’ll also pick it up at the Oscars.  Dammit.  Maybe he’ll at least be good in Jupiter Ascending.

Other Notes: Very nice to see Ralph Fiennes get a nomination for Grand Budapest.  This does make me wonder why, mind, Tony Revolori has been totally skipped over for any Best Supporting Actor nominations.  He is very much the heart of the film, arguably more so than Gustave, and Revolori puts in a quietly strong and personal performance that has curiously gone uncelebrated.  Also, we’ll nominate Benedict Cumberbatch but not Ben Affleck for Gone Girl?  Fine, sure, whatever.


la_ca_1202_still_aliceBest Actress

Nominees: Amy Adams as Margaret Keane (Big Eyes), Felicity Jones as Jane Hawking (The Theory of Everything), Julianne Moore as Dr. Alice Howland (Still Alice), Rosamund Pike as Amy Elliott-Dunne (Gone Girl), Reese Witherspoon as Cheryl Strayed (Wild)

Who Should Win: We all saw Gone Girl, yeah?  We all saw Rosamund Pike with her captivating note-perfect Lauren Bacall-referencing performance?  Good, then I don’t have to explain myself further.

Who Will Win: Julianne Moore has been due for decades, she’s finally going over here.  The problem is that she shouldn’t.  I don’t mean this in a subjective opinion way, either, I mean that the BAFTA Eligibility Rules should disqualify her from contention.  As you can check on their own website, only films released in UK cinemas to the general public between January 1st and December 31st of any given year are eligible.  However, if you are a film released in UK cinemas for the general public between January 1st and February 14th of the year in which the awards take place, then you are still eligible for awards contention as long as you screen the film to BAFTA members by December 19th.

Yes, this does all sound more than a little shady and cop-out-y.  It gets worse.  See, even with that very generous window, Still Alice still doesn’t qualify – it doesn’t receive a UK cinema release until March 6th, well past the closing eligibility date – and, therefore, shouldn’t be here!  Selma meanwhile, which does qualify – UK cinema release: February 6th – and which I haven’t seen but I’ve heard is great, is shut out completely.  So, yeah, I am against all of this.  Julianne Moore could put in the single most outstanding performance I have ever seen, and I will still be against her winning.  I’m sorry, but it’s against the rules and am I the only one around here who gives a shit about the rules?

Other Notes: Scarlett Johannson.  Emily Blunt.  That is all.


Whiplash-6606.cr2Best Director

Nominees: Wes Anderson (The Grand Budapest Hotel), Damien Chazelle (Whiplash), Alejandro Gonzalez Iñárritu (Birdman), Richard Linklater (Boyhood), James Marsh (The Theory of Everything)

Who Should Win: Look, I really dislike Boyhood, but I cannot deny the commitment, the energy, the time, and the skill that Richard Linklater put into making the thing.  To shoot one film over 12 years, the logistical and financial nightmare of organising and lining up everyone’s schedules to get this thing to happen, the hard work put in to keeping everyone’s character consistent, and to keep the film looking and remaining visually consistent despite progressing as a director significantly in the space of a decade…  Yeah, I have to respect that and admit that this is an award he should walk away with.

Who Will Win: Like hell is this not going to Linklater.  Maker, from the second this film was in the can, every Best Director gong going today was pre-packaged and all set to be FedExed to his front doorstep.  If he doesn’t win, then I quite frankly have no idea what to believe any more.

Other Notes: No Ava DuVarney for Selma, which is the sole thing that I am saying on the subject until I finally get to see the thing.  More egregiously, no David Fincher – the man who BAFTA quite rightly acknowledged as a superior filmmaker to Tom Hooper 4 years ago, and who put out quite possibly his best work ever, or at least his best directing work ever, this year, is apparently just no match for James Marsh’s directing for The Theory of Everything, a film that I fell asleep during for about five minutes.  Sure, of course he isn’t.


boyhoodBest Film

Nominees: Birdman, Boyhood, The Grand Budapest Hotel, The Imitation Game, The Theory of Everything

Who Should Win: Despite this sudden backlash that has collectively greeted the thing – because apparently we don’t even wait two months now before we try and backpedal on our opinions – I still think Birdman is brilliant and maybe even quietly genius in the way that it’s able to walk so many tightropes without ever properly falling over into un-self-aware “Artist Rants About Mainstream Film, Critics, The Internet and Clouds”.  However, I find The Grand Budapest Hotel to be the best of all of these nominees by a country mile, so I am flying that flag all the way.

Who Will Win: I know that the current narrative is that this is a straight fight between Birdman and Boyhood, with The Imitation Game sneaking its way into contention thanks to the usual Weinstein efforts, but those people are just trying to spice up a narrative to which the ending has been pre-ordained since June.  Boyhood will win with no contest and Richard Linklater will finally pick up a Best Film award, along with finally getting the Oscar equivalent a few weeks’ later.  Shame the film in question sucks.  I broke down here why I strongly dislike Boyhood and why it is objectively a bad film beyond its central gimmick, so I won’t waste time repeating myself.  Just know that I am against this disappointingly inevitable outcome.

Other Notes: 2014 Awards Season.  Otherwise known as “Yay, White Men: Hooray for White Men”.  In fairness, it’s been a pretty poor awards season and Grand Budapest absolutely deserves its spot up there – and I don’t object to Birdman showing up, either.  But it’s also such a safe and blindingly obvious list with little of interest and few of the genuinely interesting or exciting films from this past year.  Where’s NightcrawlerStarred UpWhiplashFoxcatcher?  If you’re gonna choose films about men, why snub the ones that actually have something to say about masculinity and men and challenge current societal notions?  How about Under The SkinGone Girl?  Films that look at the female gender, gender performance, and how society views them?  What happened to Pride, which had things to say about sexuality – far more so than The f*cking Imitation Game – or Belle and Selma, which said cogent things about race (and which I haven’t seen yet but heard excellent things about)?

Look, I and everybody else wouldn’t be getting so angry and worked up and vocal about this if you awards bodies didn’t keep shutting films like those out in favour of paint-by-numbers surface-level slop like The Imitation Game or The Theorzzzzzzzzzzzzzzzzzzzzzzzz.  When you shut out genuinely original and diverse films in favour of interchangeable porridge like those, it’s a slap in the face to those films that try, that offer up a different perspective, and to those of us who demand and wish for diversity and greater representation in film.  You awards bodies carry way more power than you think you do in this day and age, so what you nominate and reward matters.  So when the awards end up as white and male as this, with many of them genuinely not being the best films released in the past 12 months, you’ll have to excuse us for getting upset and calling you out on it.


That’s the rundown.  The BAFTAs themselves occur on February 8th.  Feel free to throw your insights and predictions for the ceremony into the comments below!

Callum Petch is gonna kill yr boyfriend.  Follow him on the Twitters (@CallumPetch) and listen to Screen 1 on Hullfire Radio every Monday at 9PM BST (site link)!