Tag: Sam Rockwell

Review: ‘Good Luck, Have Fun, Don’t Die,’ starring Sam Rockwell, Haley Lu Richardson, Michael Peña, Zazie Beetz, Asim Chaudhry and Juno Temple

February 22, 2026

by Carla Hay

Juno Temple, Zazie Beetz, Michael Peña, Sam Rockwell, Haley Lu Richardson, Georgia Goodman and Asim Chaudhry in “Good Luck, Have Fun, Don’t Die” (Photo courtesy of Briarcliff Entertainment)

“Good Luck, Have Fun, Don’t Die”

Directed by Gore Verbinski

Culture Representation: Taking place in the United States during various time dimensions, the sci-fi action comedy film “Good Luck, Have Fun, Don’t Die” features a predominantly white cast of characters (with some Latin people, Asians and black people) representing the working-class, middle-class and wealthy.

Culture Clash: A disheveled time traveler arrives from the future to recruit people to stop an artificial intelligence (A.I.) apocalypse.

Culture Audience: “Good Luck, Have Fun, Don’t Die” will appeal primarily to people who are fans of the movie’s headliners and wacky apocalyptic comedies that might be too convoluted for some people.

Pictured from left to right: Asim Chaudhry, Juno Temple, Michael Peña, Sam Rockwell, Zazie Beetz and Haley Lu Richardson in “Good Luck, Have Fun, Don’t Die” (Photo courtesy of Briarcliff Entertainment)

“Good Luck, Have Fun, Don’t Die” seems to be going for a similar wacky dimension-traveling vibe that was in the Oscar-winning 2022 movie “Everything Everywhere All at Once.” “Good Luck, Have Fun, Don’t Die” isn’t an Oscar-worthy movie, but this sci-fi action comedy has some impressive creativity in its story about a time traveler who recruits people to stop an A.I. apocalypse. This overstuffed movie falls short of greatness when it gets preachy about technology addiction. Some of the movie’s main characters are compelling, while other main characters are woefully underdeveloped.

Directed by Gore Verbinski and written by Matthew Robinson, “Good Luck, Have Fun, Don’t Die” had its world premiere at the 2025 edition of Fantastic Fest. The movie takes place in the United States in various time dimensions. “Good Luck, Have Fun, Don’t Die” was actually filmed in Cape Town, South Africa.

The concept of “Good Luck, Have Fun, Don’t Die” is quite basic (people try to stop an apocalypse from happening), but this 134-minute movie puffs up the concept with long chase scenes and backstory flashbacks for some of the characters. The visual effects are very good for a relatively low-budget independent film. Some of the cast members’ performances can hold viewer interest when the movie zigs and zags before it hurtles to an action-packed conclusion.

“Good Luck, Have Fun, Don’t Die” begins by showing what looks like just another night at Norms, a kitschy-looking Los Angeles diner that wasn’t created for this movie but exists in real life. A disheveled man (played by Sam Rockwell), who’s wearing a bomb strapped to his tattered clothing, suddenly bursts into the diner and announces to everyone there that he is from the future. The movie never reveals what this man’s name is. In the movie’s end credits, he’s listed only as the Man From the Future.

The Man from the Future says, “This isn’t a robbery. I am from the future. And all of this has gone horribly wrong.” The Man From the Future then starts rambling: “Social media has eroded your dignity.” He says that in the future, too many people became addicted to looking at their phones in the morning, so they became bedridden and didn’t want to do anything else, so society collapsed.

“How many of you know any phone numbers?,” asks the Man from the Future, in reference to people not having to remember phone numbers that can be programmed in phones for automatic dialing and caller ID. The Man From the Future takes some people’s phones out of their hands and tosses the phones into some drinking glasses. “I’m looking for recruits,” he says. “Humanity can be saved. This is where the revolution begins.”

At first, customers in the diner mostly ignore the Man From the Future because he appears to be a mentally ill homeless person. But he starts to get more aggressive when he takes out a knife, which prompts concern among the diner’s customers and employees. The Man From the Future also announces that he has a bomb strapped to his clothes.

The Man From the Future further explains that this is the 117th time that he’s traveled to this diner at this exact same moment, with the exact same people inside the diner. He says he needs the right combination of people. He also mentions that he already knows which people in the diner have failed to be useful in this mission. The Man From the Future is aware that someone in the diner has called police to report him, so he knows his time is limited before the police arrive.

The Man From the Future chooses seven people to go on this mission with him: children’s party entertainer Ingrid (played by Haley Lu Richardson), homemaker Susan (played by Juno Temple), schoolteacher Mark (played by Michael Peña), schoolteacher Janet (played by Zazie Beetz), rideshare driver Scott (played by Asim Chaudhry) and two other people whose occupations are unknown: Marie (played by Georgia Goodman) and Bob (played by Daniel Barnett). Mark and Janet are a couple who work at the same high school, where Mark is a substitute teacher, and Janet is a member of the school’s permanent faculty.

Ingrid and Susan are the only ones in this group who volunteered. The rest of these “recruits” are being forced to participate in whatever the Man From the Future has in mind. The Man From the Future really didn’t want Ingrid to be part of this group and initially rejected her, but he reluctantly decided she could be one of the “recruits.” The movie eventually reveals why the Man From the Future is standoffish to Ingrid, who is dressed in a fairytale princess costume that she usually wears as part of her job.

The rest of the plot in “Good Luck, Have Fun, Don’t Die” won’t be described in this review because it would give away too many details. However, it’s enough to say that some of the group’s adversaries include phone-addicted teenagers who become zombies; giant mutant cats; and a 9-year-old boy (played by Artie Wilkinson-Hunt) whom the Man From the Future says is the person who will be responsible for creating the A.I. that causes the apocalypse. And not everyone in this group of seven recruits makes it out alive.

The backstories of the Man From the Future, Ingrid and Susan have the most significance to what happens in the movie. Susan is grieving over the tragic loss of a family member. Ingrid, who has mysterious nosebleeds, is also recovering from heartbreak. Temple and Richardson bring a certain depth to their performances that make Susan and Ingrid stand out from the other recruits.

Rockwell’s performance as the Man From the Future is effective but somewhat of a rehash of the types of sarcastic eccentrics that he tends to portray in action movies. Chaudhry’s depiction of Scott should gets some laughs from viewers, since Scott is the token goofball of the group. Mark and Susan are a couple with opposite personalities—he’s insecure; she’s confident—but their characters are so underdeveloped, their backstory isn’t very interesting.

“Good Luck, Have Fun, Don’t Die” has a lot of technology shaming and lays on this shaming very thick. Smartphones, computer tablets and virtual reality headsets are depicted as the paraphernalia that are the most common gateways to technology addiction. People under the age of 30 are especially portrayed as the worst offenders in spreading technology addiction. “Good Luck, Have Fun, Don’t Die” could’ve done a better job at lampooning the older adults who financially benefit from technology addiction.

The movie also skirts the issue that the technology addiction portrayed in the movie isn’t so much about the technology but about the way technology is being used for the addiction’s underlying motivation: an escape from reality to a world that the user thinks is better than the real world. With all the running around that the movie’s characters do to “save the world,” one big issue is ignored: Even if A.I. and other technology were erased, this erasure wouldn’t guarantee that people would be happier with their lives, and it wouldn’t guarantee that people couldn’t find other ways to escape from reality. “Good Luck, Have Fun, Don’t Die” somewhat fumbles its intended messaging about technology, but the movie is entertaining enough to watch for people who just want to see a sci-fi action spectacle that isn’t as clever as it wants to be.

Briarcliff Entertainment released “Good Luck, Have Fun, Don’t Die” in U.S. cinemas on February 13, 2026. A sneak preview of the movie was shown in U.S. cinemas on February 2 and February 10, 2026.

Review: ‘The Bad Guys 2,’ starring the voices of Sam Rockwell, Marc Maron, Craig Robinson, Anthony Ramos, Awkwafina, Danielle Brooks, Natasha Lyonne, Maria Bakalova and Zazie Beetz

July 30, 2025

by Carla Hay

Snake (voiced by Marc Maron), Wolf (voiced by Sam Rockwell), Tarantula (voiced by Awkwafina), Piranha (voiced by Anthony Ramos) and Shark (voiced by Craig Robinson) in “The Bad Guys 2” (Image courtesy of DreamWorks Animation/Universal Pictures)

“The Bad Guys 2”

Directed by Pierre Perifel; co-directed by JP Sans

Culture Representation: Taking place in the Los Angeles area and in outer space, the animated film “The Bad Guys 2” (based on the book series of the same name) features a cast of characters who are talking animals and humans.

Culture Clash: The Bad Guys, a group of five animals who are reformed criminals, are forced back into committing crimes by a trio called the Bad Girls, who want to steal a rocket ship for reasons that are revealed in the movie.  

Culture Audience: “The Bad Guys 2” will appeal primarily to people who are fans of “The Bad Guys” franchise and animated adventures where talking animals are the main characters.

Pigtail (voiced by Maria Bakalova), Kitty Kat (voiced by Danielle Brooks) and Doom (voiced by Natasha Lyonne) in “The Bad Guys 2” (Image courtesy of DreamWorks Animation/Universal Pictures)

In trying to outdo its predecessor movie, “The Bad Guys 2” almost falls into a sequel trap of overstuffing the plot. Despite some distractions, this animated film still presents an engaging adventure story in a crime caper comedy about anti-hero animals. The action scenes are more elaborate but they’re also more cluttered, compared to 2022’s “The Bad Guys” movie.

Directed by Pierre Perifel and co-directed by JP Sans, “The Bad Guys 2” was written by Yoni Brenner and Etan Cohen. “The Bad Guys” movies are based on Aaron Blabey’s book series of the same name. The first “Bad Guys” movie was directed by Perifel and written by Cohen. Damon Ross is a producer of both movies.

In the “Bad Guys 2” production notes, Ross comments: “The first movie was our love letter to heist films like ‘Ocean’s Eleven,’ with a touch of Quentin Tarantino. For the sequel, we wanted to go bigger and explore other genres. We looked to ‘Mission: Impossible’ and James Bond for inspiration—bigger action, bigger spectacle and much higher stakes.”

The titular main characters in “The Bad Guys” movies are five talking animals:

  • Mr. Wolf (voiced by Sam Rockwell), the group’s leader, has a cool and charming personality. He prides himself on being able to talk himself out of almost any tricky situation.
  • Ms. Tarantula (voiced by Awkwafina) is an expert hacker and the most logical member of the group. She is usually calm and level-headed under pressure.
  • Mr. Snake (voiced by Marc Maron) is a pessimistic safecracker who is Wolf’s best friend. Snake’s prickly personality is softened when he gets an unexpected love interest in the story.
  • Mr. Shark (voiced by Craig Robinson) is a master of disguise and is the one most likely in the group to be in a good mood and entertain the others. Shark also has a soft spot for children.
  • Mr. Piranha (voiced by Anthony Ramos) is hot-tempered and unpredictable. This “loose cannon” also tends to fart when he gets nervous, which is a personal trait that is used more than once as comedy in the movie.

“The Bad Guys 2” explains how “The Bad Guys” ended: The five members of the Bad Guys became reformed criminals and decided to start over as law-abiding citizens. The beginning of “The Bad Guys 2” shows that this intention is easier said than done.

Because of their criminal records, the Bad Guys have a hard time getting hired for legitimate jobs or applying for apartment rentals. For example, Wolf mistakenly applies to work at a bank that he forgot that he robbed three times. The Bad Guys all live together in a space where they are about to be evicted for non-payment of rent.

In “The Bad Guys,” Wolf became friendly with a fox named Diane Foxington (voiced by Zazie Beetz), who is now the governor of California. In an early scene in the movie, Wolf and Diane are doing some boxing training at a local gym. He tells her about the Bad Guys’ unemployment and financial woes in trying to have law-abiding lives.

Wolf and Diane mildly flirt with each other, which hints that they have a mutual attraction. However, in this moment, Diane wants to keep things between them strictly platonic. And during this boxing session, Diane easily defeats Wolf. Diane has a secret past as a master thief called Crimson Paw. This past comes back to haunt her in “The Bad Guys 2.”

Meanwhile, a mysterious criminal that the media and the public have called the Phantom Bandit has been committing a slew of robberies in the area. The Phantom Bandit hacks into computer systems to gain access to the places that are robbed. Everything that the Phantom Bandit has stolen is made of a rare metal called MacGuffinite.

The Belt of Guatelemango, which is the grand prize in a Lucha Libre wrestling match, is the most famous MacGuffnite item. The Bad Guys are under suspicion for being the Phantom Bandit. And that’s why the Bad Guys end up at the wrestling match, where they think they can catch the real culprit in the act.

At the wrestling match, they meet a raven named Susan (voiced by Natasha Lyonne), who is working as a snack vendor at the event. Snake reveals that he and Susan have been dating each other. And he really seems to be falling in love. Snake’s friends tease him about this relationship because Snake doesn’t seem like the romantic type, and Susan seems too “book smart” and “nerdy” for Snake.

It’s soon revealed (as shown in the movie’s trailers) that Susan’s real name is Doom, who is a master manipulator/con artist. She’s part of a female criminal trio called the Bad Girls, led by a ruthless snow leopard named Kitty Kat (voiced by Danielle Brooks), who is the mastermind of the heist at the center of the movie. The other member of the Bad Girls is Pigtail Petrova (voiced by Maria Bakalova), a Bulgarian wild boar who is the group’s mild-mannered technical engineer.

After a chaotic ambush at the wrestling match, the Bad Guys find out that they’ve been abducted by the Bad Girls, who are the real criminals behind the Phantom Bandit thefts. Kitty Kat orders the Bad Guys to help the Bad Girls steal a rocket ship. In exchange, the Bad Girls will release a video proving that the Bad Guys did not commit the Phantom Bandit thefts.

The rest of “The Bad Guys 2” involves a series of hyperactive scenes, including action sequences in outer space. One of the clumsiest parts of the movie is when the Bad Guys and Bad Girls show up uninvited (and in disguise) at the wedding of a tech billionaire named Jeremiah Moon (voiced by Colin Jost), who is a huge dolt for not noticing all the weird things that these uninvited guests do to call attention to themselves. Let’s put it this way: The Bad Guys are better at being thieves than at being spies.

Reprising their roles from “The Bad Guys” are TV reporter Tiffany Fluffit (voiced by Lilly Singh), who has takes a tabloid approach to her journalism; imprisoned Professor Rupert Marmalade IV (voiced by Richard Ayoade), who was the villain in the first “Bad Guys” movie; and Misty Luggins (voiced by Alex Borstein), who has been promoted from police chief to police commissioner and loves to remind people about this promotion. New to “The Bad Guys 2” is an Egyptian billionaire named Mr. Soliman (voiced by Omid Djalili), an art collector who was robbed by the Bad Guys five years earlier.

Although “The Bad Guys 2” story is messier and not as entertaining as the story in the first “Bad Guys” movie, the voice cast performances remain among the best assets of this animated film series. Rockwell, Awkwafina, Brooks and Lyonne are the standouts because they bring personalities to their characters that make them instantly memorable. Borstein also brings some laughs as a sometimes-bumbling law-enforcement official.

Daniel Pemberton’s musical score (he also wrote the score for “The Bad Guys”) is a highlight that keeps up with energetic pace of the movie. The movie’s visuals are very competent but not award-worthy. This is a sequel that could’ve used the concept of “less is more.”

For better and for worse, the Bad Girls get almost as much screen time as the Bad Guys. On the one hand, the Bad Girls are undoubtedly interesting characters that keep the story lively. However, some of the Bad Guys and their camaraderie get sidelined in the process. For example, the friendship between Wolf and Snake is solid but not as strong as it was in “The Bad Guys.”

“The Bad Guys 2” makes the Bad Girls such a huge part of the story, it seems almost like a test for a spinoff series for the Bad Girls. Professor Marmalade’s brief appearances in the movie (including a mid-credits scene) seem to be purely for nostalgia purposes. There’s no need to bring back past villains into every “Bad Guys” movie.

“The Bad Guys 2” doesn’t surpass “The Bad Guys” in terms of overall quality. However, it’s a very good option for an animated film with an entertaining story. “The Bad Guys” movies need to stick to using the “Ocean’s” and “Mission: Impossible” movies as inspirations—or “The Bad Guys” could easily lose their way and turn into the animated equivalent of the bloated and ridiculous “Fast and Furious” franchise.

Universal Pictures will release “The Bad Guys 2” in U.S. cinemas on August 1, 2025. The movie will be released on digital and VOD on August 19, 2025. “The Bad Guys 2” will be released on 4K UHD and Blu-ray on October 7, 2025.

Review: ‘IF’ (2024), starring Cailey Fleming, Ryan Reynolds, John Krasinski and the voices of Phoebe Waller-Bridge, Louis Gossett Jr. and Steve Carell

May 15, 2024

by Carla Hay

Cailey Fleming and Blue (voiced by Steve Carell) in “IF” (Photo courtesy of Paramount Pictures)

“IF” (2024)

Directed by John Krasinski

Culture Representation: Taking place in New York City, the live-action/animated film “IF” features a cast of characters that are humans and imaginary creatures.

Culture Clash: A lonely 12-year-old girl interacts with imaginary beings and agrees to help them find matches with the right people who need imaginary friends. 

Culture Audience: “IF” will appeal primarily to people who are fans of the movie’s headliners and filmmaker John Krasinski, but this poorly paced and unfocused movie might bore many of the people in the intended audience.

Ryan Reynolds and Cailey Fleming in “IF” (Photo by Jonny Cournoyer/Paramount Pictures)

Although it’s sweet-natured and trying to have the same impact as the “Toy Story” movies, the live-action/animated film “IF” has an unfocused and messy plot about childhood nostalgia, with underdeveloped characters. This uneven mushfest takes too long to get to the story’s purpose. And the last 30 minutes of “IF” are nothing but blatant emotional manipulation intended to make viewers cry in a way that doesn’t feel earned, considering the shallow depictions of most of the movie’s characters.

Written and directed by John Krasinski (who is also one of the movie’s producers), “IF” begins with voiceover narration from a 12-year-old girl named Bea (played by Cailey Fleming), who says, “I remember my mom always wanted to tell me a story. It wasn’t until much later, I realized the stories she wanted me to tell had nothing to do with me at all … The most important stories are the ones we tell ourselves.” (It’s mentioned later in the movie that Bea’s real name is Elizabeth, and her mother gave her the nickname Bea.)

Throughout the movie, several flashbacks are shown as clips from videos of happier times in Bea’s family. Her father has kept many of these videos on an old video camera that Bea finds in a closet at her paternal grandmother’s home. Bea is the only child of an unnamed father (played by Krasinski) and unnamed mother (played by Catherine Daddario), who both have unnamed health issues. The video flashbacks show Bea at ages 3 and 5 (played by Audrey Hoffman) and her parents having a close and loving relationship. Videos of a family trip to New York City’s Coney Island are significant to the story.

In the beginning of the movie, Bea has arrived with some of her luggage at the New York City home of her unnamed British grandmother (played by Fiona Shaw), who is the mother of Bea’s father. Bea’s mother died of an unnamed illness, presumably cancer, because the flashbacks hint that Bea’s mother lost her hair in chemotherapy. The movie never says when Bea’s mother died, but it seems like it was about seven years ago, because Bea is 5 years old or younger in all the family photos and videos with Bea’s mother.

Bea will be staying with her grandmother because Bea’s father has to check into a nearby hospital to have surgery for an unnamed reason. When Bea arrives, the grandmother mentions that she hasn’t seen Bea in years, when Bea was a lot younger and smaller. The grandmother is very surprised to see how much Bea has grown. Bea also looks uncomfortable when she arrives, as if she’s staying in a stranger’s home. In this day and age when family members can easily share photos and videos, the movie gives no explanation for why Bea’s grandmother has gone years without seeing what Bea currently looks like until Bea shows up at the grandmother’s home.

Bea’s father tries to assure Bea that the reason for his surgery is not for a terminal illness. Bea inexplicably doesn’t ask for details on why her father needs this surgery. Viewers can assume it’s because Bea is afraid to know what her father’s medical issues are because of how her mother died. Those are details that the movie refuses to address because “IF” wants to focus on having a slew of animated characters that can be turned into toys and other merchandise to sell in the real world.

Bea spends a lot of time by herself or without adult supervision. There’s no mention of her being in school, so viewers will have to assume she’s on a break from school when this story takes place. Bea is friendly, talkative and intelligent, but she has no friends, for reasons that are never explained in the movie. The adults in her life seem too self-absorbed to care that Bea doesn’t have a social life.

“IF” shows that when Bea was younger, she used to draw an unnamed imaginary character with a big smiley face. Bea’s father tries to recreate that character by putting some craft designs on an IV drip irrigation tower in his hospital room. Bea tells her father that she’s outgrown this imaginary character by saying, “Dad, you really don’t have to do this.” He says, “What?” She replies, “Treat me like a kid.” (Someone needs to tell Bea that she really is still a kid.)

The imaginary characters in Bea’s world don’t appear to her right away. Glimpses of them are shown as they furtively seem to be watching her in the background and then quickly run away if they think she will see them. It’s stalking, but the movie wants people to think this stalking is adorable. It’s not. It’s just an example of how the movie drags out how long it takes for Bea to finally talk to these characters for the first time.

One of the first places that the imaginary characters are seen stalking Bea is at the hospital where Bea’s father is staying. One day, Bea is walking in a hospital hallway with a bouquet of flowers that she’s bringing to her father. A boy named Benjamin (played by Alan Kim), who’s about 8 or 9 years old, is bedridden (with a cast on his right leg) in a nearby room and calls out to Bea to ask her if the flowers are for him.

Benjamin is joking, of course, and he introduces himself to Bea, who tells him the flowers are for her father. Bea and Benjamin have a short conversation. There are a few more scenes in the movie that repeat this scenario. Bea and Benjamin develop a casual acquaintance, not a real friendship. Bea having a real and meaningful friendship with another human being is something that the movie could have explored but does not. Instead, “IF” has an irresponsible message that Bea is better off interacting with imaginary characters.

Each imaginary character in the movie is an imaginary friend (IF) of a human, but an IF can get discarded when a human does not need the IF anymore. In the movie, no longer needing an IF is portrayed as a human reaching emotional maturity but losing a sense of childlike imagination and hope. Many IFs are wandering around in search of another human who will take them as an imaginary friend.

The three main IFs in the movie are these such wandering IFs in search of human companionship and want to match IFs with human children. They are a wisecracking man named Calvin, nicknamed Cal (played by Ryan Reynolds); a giant purple furry creature named Blue (voiced by Steve Carell), who is goofy, clumsy and amiable; and a walking bee named Blossom (voiced by Phoebe Waller-Bridge), who wears a ballerina tutu and has the voice and personality of a polite British nanny. Blue got his name because he was created by a color-blind human boy.

Cal is the leader, while Blue and Blossom are his sidekicks. Cal, Blue and Blossom are first seen trying to do a “friendship match” with an unnamed, sleeping 7-year-old girl (played by Sa’Raya Paris Johnson) in her bedroom. Needless to say, this endeavor is a disaster and leaves the girl’s room in a terrible mess, with the girl frightened and confused about what just happened. Don’t expect to learn anything about this girl. She’s never seen again in the movie.

At separate times, Bea meets Cal, Blue and Blossom, who all live in an abandoned apartment that’s being used as someone’s storage room. Bea faints from fear the first time that Bea sees Blossom. Eventually, Cal explains to Bea that Cal, Blue and Blossom are abandoned IFs who are on a mission to be matchmakers for kids who need imaginary friends. Cal asks Bea to help them with this mission about 45 minutes into this 104-minute movie. That part of the plot should’ve happened a lot sooner and would’ve helped this frequently sluggish movie pick up its pace.

Cal, Blue and Blossom have a close friend named Lewis (voiced by Louis Gossett Jr.), a teddy bear who looks very cuddly but has a personality that is very bland. (During the movie’s end credits, there’s a brief “in memory” tribute to Gossett, who died on March 29, 2024.) Ask anyone who’s seen “IF” if Lewis was a necessary character, and most people will say, “No.”

As for the human characters, “IF” has a very questionable and outdated racial depiction of New York City. In real life, the 2020 U.S. Census reports that in New York City, white people are the minority (31%), and people of color are the majority (69%). The few human adults of color in the movie are characters with small, subservient roles. Two examples are Liza Colón-Zayas (who plays a hospital nurse named Janet) and LaQuet Sharnell Pringle, who has the role of an unnamed receptionist.

“IF” introduces numerous other imaginary friend characters voiced by an all-star cast, but most of these animated characters have cameo roles and are not essential parts of the main story. It just seems like the “IF” filmmakers’ way of showing that they could get several big celebrity names in these cameo roles. In other words, it’s all shallow stunt casting. It’s like “IF” is trying to be like a “Toy Story” movie, but without the memorable characters.

These fleeting characters are Unicorn (voiced by Emily Blunt); Bubble (voiced by Awkwafina); Ice (voiced by Bradley Cooper); Guardian Dog (voiced by Sam Rockwell); Flower (voiced by Matt Damon); Banana (voiced by Bill Hader); Robot (voiced by Jon Stewart); Alligator voiced by Maya Rudolph); Magician Mouse (voiced by Sebastian Maniscalco); Cosmo (voiced by Christopher Meloni); Slime (voiced by Keegan-Michael Key); Ghost (voiced by Matthew Rhys); and Gummy Bear (voiced by Amy Schumer). Brad Pitt has a voice role as a character named Keith. All of these characters are gimmicky and are just there to crack a few jokes instead of making meaningful contributions to the story.

“IF” has a flashback of Bea as a younger child doing karaoke and dressed as a mid-1980s Tina Turner while singing Turner’s hit “Better Be Good to Me.” This leads to an awkward sequence where 12-year-old Bea, Cal (in a 1980s mullet and leather jacket) and various characters imagine themselves on stage with Turner while Turner performs the song. Through visual effects, parts of the real “Better Be Good to Me” music video are used in this sequence, with Cal filling in for Cy Curnin (lead singer of The Fixx), who appears in the real music video for “Better Be Good to Me.”

It leads to a question that many “IF” viewers will ask themselves: What kind of audience does “IF” really want? On the surface, it seems like a movie aimed at kids under the age of 13, but as the movie goes on, it becomes obvious that it’s really for people who are old enough to know that “Better Be Good to Me” was a hit video on MTV, back in the days when MTV played a lot of music videos. Why else would this misguided film turn into such a sappy mess about adults reminiscing about their childhood imaginary friends?

“IF” really loses its way when the mission of matchmaking IFs with new kids gets sidelined, and the movie becomes about people being reunited with the IFs they thought they outgrew. There’s a nervous businessman named Jeremy (played by Bobby Moniyahan), who suddenly shows up in the movie with absolutely no backstory or purpose, except to provide a contrived cornball moment that involves Bea following him to a corporate office where Jeremy is about to give an important presentation.

As the character of Bea, Fleming does an admirable job of conveying several emotions. It’s too bad that Bea and the rest of the characters in the film aren’t very interesting. Reynolds is just doing the same type of character he does in most of his movies: sarcastic and jaded, but capable of being a nice guy under certain circumstances. Shaw has a few moments to shine, but her grandmother character is just too absent and too vague to be taken seriously as someone who could have a positive impact on Bea’s life. All of the other performances in “IF” are serviceable and quite generic.

One of the most noticeable problems with “IF” is that it sends a dubious message that it’s okay for people to spend more time with imaginary friends than real friends. Death and medical issues are presented as the main reasons for Bea’s family problems and her sad loneliness. But “IF” refuses to realistically address those problems. Instead, the movie seems more concerned about showing a parade of cute and quirky imaginary characters that can distract Bea from those problems. It’s a very unhealthy way of coping with grief.

The adults in Bea’s life ultimately fail Bea by never talking to Bea about her grief and obvious loneliness. Her grandmother rarely interacts with Bea and only seems to show a personality when the grandmother reminisces about being a child ballet dancer and bemoans that people don’t want to see old women dance. It leads to a very corny scene where the grandmother hears a song from her ballet dancer days, and the grandmother doesn’t really dance, but she just waves her arms like she’s in a nostalgia trance.

“IF” revolves around the flimsy and immature concept that having an imaginary, wisecracking friend should be the gateway to healing over the loss of a loved one. “IF” did not have to be an emotionally heavy drama in order to address issues of human suffering, but one of the movie’s biggest flaws is the movie’s refusal to properly address a child’s grief. “IF” is a family-oriented movie, but the sentimental themes in this film seem geared more to adults who want to reminisce about their childhoods, rather than being geared to kids who want to see a magical movie about imaginary friends. “IF” just has too many unanswered questions about Bea and her family, who should be the emotional center of the story, but instead are just emotionally stunted due to a very flawed screenplay and mishandled direction.

Paramount Pictures will release “IF” in U.S. cinemas on May 17, 2024. The movie will be released on digital and VOD June 18, 2024. “IF” will be released on Blu-ray, DVD and 4K Ultra HD on August 13, 2024.

Review: ‘Argylle,’ starring Henry Cavill, Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O’Hara, Dua Lipa Ariana DeBose, John Cena and Samuel L. Jackson

January 31, 2024

by Carla Hay

Bryce Dallas Howard and Sam Rockwell in “Argylle” (Photo by Peter Mountain/Universal Pictures/Apple Original Films)

“Argylle”

Directed by Matthew Vaughn

Culture Representation: Taking place in the United States, Europe, and Asia, the action film “Argylle” features a predominantly white cast of characters (with a few African Americans, Latinos, Asians and one multiracial person) representing the working-class, middle-class, wealthy and the criminal underground.

Culture Clash: A famous American book author, who has written a series of novels about a British spy named Argylle, goes on the run with a real spy, who has told her that she’s the target of a criminal spy group.

Culture Audience: “Argylle” will appeal primarily to people who are fans of the movie’s headliners, filmmaker Matthew Vaughn, and action movies that have more style than substance.

Bryan Cranston in “Argylle” (Photo courtesy of Universal Pictures/Apple Original Films)

“Argylle” is an incoherent, bloated mess filled with stupid plot twists, awful dialogue, and a gimmicky cat that looks fake for most of the movie. Henry Cavill is not the main star, even though he gets top billing. “Argylle” is mostly Sam Rockwell acting smug and Bryce Dallas Howard acting terrified. The trailers for “Argylle” are grossly misleading, in terms of certain characters being misrepresented as being more important and having more screen time than what’s actually in the movie.

Directed by Matthew Vaughn and written by Jason Fuchs, “Argylle” is yet another big-budget, globe-trotting spy movie with a flimsy plot that’s just an excuse for filmmakers to overspend on visual effects, lavish locations, and salaries for celebrity stunt casting for cast members who are barely in the movie. “Argylle” has so much idiocy and the worst spy adventure clichés, it’s like the filmmakers took the trash ideas from other spy movies and threw them into the junkpile that is “Argylle.” And with an overly long total running time of 139 minutes (which drags the movie down even further into irritating depths), “Argylle” is like garbage with stench that lingers and gets worse the longer it sticks around.

The central characters of “Argylle” are reclusive novelist Elly Conway (played by Howard) and sarcastic spy Aidan Wild (played by Rockwell), who go on the run from a criminal group of spies called The Division. The opening scenes from “Argylle” are mostly revealed in the movie’s trailers. Elly has a best-selling book series about a dashing and handsome British spy named Argylle (played by Cavill), who is obviously a ripoff of James Bond. Elly has an active imagination where she sometimes envisions Argylle and her other book characters coming to life in front of her.

Argylle’s spy colleagues are his muscular best friend/right-hand man Wyatt (played by John Cena), who does a lot of the work requiring the most physical strength; androgynous field tech Keira (played by Ariana DeBose), an expert strategist who’s often needed to get Argylle and Wyatt out of trouble; and Fowler (played by Richard E. Grant), a senior member of Argylle’s Washington, D.C.-based spy group. Argylle’s chief nemesis is a spy named Lagrange (played by Dua Lipa), who uses seduction and charm to get what she wants. All of these characters from Elly’s “Argylle” novels are not in the movie as much as viewers might think, based on the way the “Argylle” movie was marketed. Lipa’s screen time is barely 10 minutes, with her entire character arc show already shown in the “Argylle” trailers. Grant gets even less screen time.

Elly has just finished her fifth “Argylle” book, which ends on a cliffhanger. (It has something to do with Argylle going to London and whether or not he gets a secret file.) Elly’s meddling and opinionated mother Ruth (played by Catherine O’Hara) reads Elly’s manuscripts and is quick to give criticism. Ruth says that the book should not end on a cliffhanger and tells Elly that the book needs a better, more definitive ending.

Elly, who is very insecure and sensitive, has these doubts swirling in her head when she goes to a personal appearance at a bookstore in Denver, where she answers questions from the audience. She denies speculation that she is a spy in real life, just like spy novelists Ian Fleming or John le Carré actually had experiences working in espionage. When a young man in the audience asks Elly out on a date, she lies and says she already has a date.

Elly’s “date” is really spending time at home with her beloved cat Alfie, a gray-and-white Scottish Fold, who is her constant companion. (In real life, the cat that plays Alfie is named Chip, and he is owned by Claudia Vaughn, Matthew Vaughn’s wife, who is better known by her previous name and profession: supermodel Claudia Schiffer.) Elly is a stereotypical “cat lady” bachelorette, who would rather spend time with her cat than with other people. Elly lives in seclusion in a remote house in an unnamed city in the United States.

Elly has a fear of flying in planes, so she takes other transportation for long-distance trips. On a train ride home after her book appearance, a scruffy-looking and talkative stranger sits in the seat facing her. Elly doesn’t really want him to sit near her, but he ignores her attempt to get him to sit somewhere else. He happens to be reading Elly’s latest “Argylle” book, which he says he’s enjoying. It isn’t long before the stranger, who later introduces himself as Aidan Wild (played by Rockwell), tells Elly that he has noticed that she is the famous author Elly Conway. She tries to deny it, but Aidan isn’t fooled.

As already shown in the “Argylle” trailer, Aidan knew who Elly was all along, because he had been tracking her. And he isn’t the only one who knows that Elly is on the train. About 10 spies from The Division are also on the train. They are on a mission to kidnap Elly, but Aidan fights them all off, with Elly intermittently hallucinating that Aidan is really Argylle during the entire melee. Aidan and Elly then escape from the train by a parachute that Aidan happens to have.

Aidan tells Elly that he’s a spy and that her latest “Argylle” book has strangely predicted real-life spy activities. He tells her about The Division, which Aidan says wants to abduct Elly to force her to write the next chapter of the book so The Division can know in advance what will happen in real life. (Yes, this movie’s plot is as moronic as it sounds.) The fugitive duo’s travels take them to Greece, Colorado, London, France, Hong Kong, and the Arabian Peninsula. Most of “Argylle” was filmed in the United Kingdom.

The Division (which sells spy secrets to the highest bidders) is led by a conniving director named Mr. Ritter (played by Bryan Cranston), who comes across more like a grouchy professor instead of the head of a ruthless crime syndicate. Ritter has a shotgun named Clementine, which he says he inherited from his mother. As soon as Ritter shows ths shotgun and talks about the sentimental value that it has for him, you just know he’s going to use this gun in one of the showdown fight scenes.

Ritter’s chief henchman is Carlos Valdez (played by Tomás Paredes), who is completely generic. Carlos was undercover as an audience member at Elly’s Denver speaking appearance. He was the person who asked her if she’s a real spy. The rest of The Division thugs and fighters are mostly nameless and have no real personalities or storylines.

There’s a poorly written subplot about Aidan looking for an elusive young computer hacker named Bakunin (played by Stanley Morgan), who betrayed Aidan because Aidan overpaid Bakunin for data that Bakunin failed to deliver. Bakunin has now mysteriously disappeared. This subplot is nearly forgotten for a great deal of the movie, until it’s shoved in as an afterthought during the movie’s end credits, which hint that there could be an “Argylle” sequel or spinoff. (Please don’t put more of this “Argylle” nonsense into the world.)

Much of the so-called “comedy” in “Argylle” comes from Elly insisting on bringing Alfie with her everywhere she goes. The cat is kept in Elly’s argyle-pattered, backpack-styled carrying case, which has holes on the side so the cat can breathe. It should come as no surprise that Aidan is allergic to cats. The cat is obviously a computer-generated image (CGI) in most of its scenes. This phoniness takes away a lot of the impact that these comedic scenes would’ve had if the cat looked real.

The Beatles’ “Now and Then” is played several times throughout the movie (the song’s significance to certain characters is eventually revealed), and it’s played often enough that it’s clear that a sizeable chunk of the movie’s budget was spent to license the song. Far superior to the movie’s story is the “Argylle” soundtrack, including the end-credits dance song “Electric Energy,” performed by DeBose, Boy George and Nile Rodgers. The “Argylle” music from composer Lorne Balfe invigorates the movie’s over-the-top action scenes but can’t save the film when the movie drags on with frustrating banality during the dialogue scenes, especially during the long final stretch.

In the production notes for “Argylle,” director Matthew Vaughn (who is also one of the movie’s producers) says one of the main influences for “Argylle” is the 1984 action film “Romancing the Stone,” starring Michael Douglas as a cocky mercenary, and Kathleen Turner as an uptight romance novelist, who go on a misadventure when she enlists him to help her find her kidnapped sister in Colombia. “Argylle” tries desperately and fails to have the winning formula of “Romancing the Stone” and other entertaining movies where two people of the opposite sex are thrown together under dangerous circumstances, as they both argue and pretend that they’re not attracted to each other. Rockwell and Howard (as Aidan and Elly) seem to be doing their best, but they just don’t have the right chemistry together.

Elly should’ve been called Nervous Nellie, because that’s how she is for most of this repetitive movie. Elly constantly has to be rescued and reassured by Aidan, who is supposed to look like an average guy but has almost superhuman combat skills. Aidan and Elly get into tiresome and boring arguments because Aidan wants Elly to take risks that she’s afraid to take. Elly is portrayed as an unfortunate “damsel in distress” stereotype that “Argylle” unconvincingly tries to correct in the last third of the movie, when “Argylle” really falls off the rails into an irredeemable wasteland of cinematic muck.

And the question must be asked: Why is Samuel L. Jackson in this movie? Is he in some kind of personal contest to see how many sidekick characters he can play in big-budget films where he’s usually a loudmouth, know-it-all “elder statesman,” who gets sidelined because the main stars get most of the action? That’s essentially what Jackson is in “Argylle,” where he plays Alfred Solomon, a former deputy director of the CIA, who now lives in exile at a vineyard in France.

Predictably, Elly and Aidan end up visiting Alfred at this vineyard, which has a control room with giant video monitors that can see a lot of the action going on in the movie. It’s just a way to have scenes of Alfred reacting to whatever shenanigans that Elly and Aidan are up to in their globetrotting, as these mismatched runaways try to evade getting captured by The Division. Sofia Boutella has a small and thankless role as Saba Al-Badr, a mysterious person described as “The Keeper of Secrets,” who lives in a palace on the Arabian Peninsula.

“Argylle” could have been much more entertaining if it had a story that was engaging, instead of trying too hard to look “daring” with garishly filmed fight scenes that look distractingly artificial. (A fight scene involving ice skating on an oil-covered floor is an example of this egregiousness.) Elly’s fantasy visions about the world of Argylle are awkwardly placed in the movie. The acting performances are adequate, but the co-star chemistry is very forced and unconvincing. Just like the CGI cat in the movie, “Argylle” is as fake and fluffy as it looks, but the end result is not as cute.

Universal Pictures will release “Argylle” in U.S. cinemas on February 2, 2024.

Review: ‘See How They Run’ (2022), starring Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Harris Dickinson, Reece Shearsmith and David Oyelowo

September 14, 2022

by Carla Hay

Sam Rockwell and Saoirse Ronan in “See How They Run” (Photo by Parisa Taghizadeh/Searchlight Pictures)

“See How They Run” (2022)

Directed by John Patton Ford

Culture Representation: Taking place in London, mostly in 1953, the comedy/drama film “See How They Run” features a predominantly white cast of characters (with some black people and Asian people) representing the working-class, middle-class and wealthy.

Culture Clash: A jaded police inspector and his rookie partner, who have opposite personalities and contrasting styles of working, investigate serial murders that appear to be linked to the planned-for movie adaptation of Agatha Christie’s murder mystery play “The Mousetrap.” 

Culture Audience: “See How They Run” will appeal primarily to people who are interested in movies that are inspired by Agatha Christie mystery novels.

Ruth Wilson, Reece Shearsmith, Harris Dickinson, Sian Clifford, Pearl Chanda, Jacob Fortune Lloyd, David Oyelowo and Ania Marson in “See How They Run” (Photo by Parisa Taghizadeh/Searchlight Pictures)

“See How They Run” doesn’t quite reach the classic heights of Agatha Christie murder mysteries, which are this comedy/drama movie’s admitted inspirations. However, it’s worth watching for the entertaining performances and clever observations of showbiz. The last third of “See How They Run” stumbles a bit in how the mystery is revealed, but it doesn’t take away from the movie’s overall appeal to viewers who are interested in British movies that poke fun at the entertainment industry in a story about solving crimes.

“See How They Run” is the feature-film directorial debut of Tom George, who is known for directing in British television. His TV credits include his BAFTA-winning work directing the BBC comedy show “The Country,” as well as the BBC comedy “Defending the Guilty.” His keen sense of comedic timing serves “See How They Run” very well, since most Agatha Christie-styled movies definitely do not have the screwball comedy qualities that are in “See How They Run.” Mark Chappell wrote the “See How They Run” screenplay, which is better at crafting characters than it is as explaining some of the unanswered questions in this murder mystery.

Every movie inspired by Agatha Christie’s writing has a fairly large ensemble of characters who are considered suspects or persons of interests in the murder case until the real killer or killers can eventually be revealed. The body count in “See How They Run” is a lot lower than a typical story of this ilk, but that just makes it more intriguing to guess who’s behind the murders. Fortunately, the movie isn’t cluttered with too many chararacters, so it’s easy to keep track of who everyone is.

“See How They Run,” which is set primarily in 1953 London, also balances multiple layers, because it’s a story with several flashbacks, as well as a whodunit that’s directly tied to the real-life, long-running West End production of Christie’s “The Mousetrap.” Although most of the characters in “See How They Run” are fictional, some of the characters are based on real people, including Christie herself. The movie does a better job at handling the flashbacks than it does in trying to show parallels between “The Mousetrap” and the original screenplay for “See How They Run.”

“See How They Run” opens with a scene that is later referred to in flashbacks. In 1953, on London’s West End, several people have gathered for a nighttime party at the Dominion Theatre, to celebrate the 100th performance of “The Mousetrap.” Among the partiers are members of the cast and some people who are involved in making a feature film version of “The Mousetrap,” including American director Leo Köpernick (played by Adrien Brody), who has been blacklisted in Hollywood, due to the Red Scare targeting suspected Communists.

The night of this party will also be the last night of Leo’s life, since he will be murdered in a backstage costume shop by a mystery person wearing a trench coat, a mask and a fedora. The murderer definitely looks like a man, but with these mystery stories, the killer’s gender can’t always be presumed. At first, Leo is attacked by the murderer trying to strangle Leo with a wire. Leo breaks free, but is killed when the murderer beats him to with a fire extinguisher.

A now-dead Leo then provides intermittent narration for the rest of the movie. Not everyone who watches this movie will like this “voice from the dead” narration. However, it’s a director choice that’s quite unconventional and provides a perspective that doesn’t make things easy for viewers, because Leo is eventually exposed as a sleazy character who might be an unreliable narrator.

The two cops who end up being the primary investigators for Leo’s murder are two very opposite people: Inspector Stoppard (played by Inspector Sam Rockwell) is a world-weary alcoholic, who approaches the investigation with a skepticism where he doesn’t come to any conclusions until he sees indisputable evidence. Constable Stalker (played by Saiorse Ronan) is an eager-to-please rookie who’s an Irish immigrant with a tendency to jump to conclusions without hard evidence.

Predictably, Stoppard and Stalker often clash, with Stoppard embodying the cliché of an older cop who’s forced to work with a younger cop and is frequently annoyed by the younger cop in the process. It doesn’t help that Stoppard is very sexist and doesn’t believe that police detective work is a job that women can do as well as men. The supervisor for Stoppard and Stalker is a police commissioner named Harrold Scott (played by Tim Key), who is more concerned about his own public-relations image and career ambitions than he is about getting justice for the crimes investigated by his department.

It isn’t long before Stoppard and Stalker have a group of people to interview and investigate. They include:

  • Petula “Choo” Spencer (played by Ruth Wilson), the no-nonsense producer/chief investor of “The Mousetrap” play. It’s later revealed that she has a motive to prevent the movie version of “The Mousetrap” from getting made.
  • Mignon Saunders (played by Ania Marson), Petula’s eccentric mother. Mignon doesn’t say much, but does that mean she knows more than she’s telling?
  • John Woolf (played by Reece Shearsmith), the wealthy film producer of “The Mousetrap” movie. (This character is based on the real John Woolf.) John is the person who decided to hire Leo, because of Leo’s talent and track record of making award-winning films.
  • Ann Saville (played by Pippa Bennett Warner), John’s administrative assistant and his mistress. Ann is every much in love with John and expects him to eventually divorce his wife and marry Ann.
  • Edana Romney (played by Sian Clifford), John’s wife, who considers herself to be an amateur psychic. It’s revealed in the movie if she knows about John’s affair with Ann.
  • Mervyn “Merv” Cocker-Norris (played by David Oyelowo), the pompous screenwriter for “The Mousetrap” movie. Mervyn and Leo were feuding because Leo didn’t like Mervyn’s script, but Mervyn refused to do a rewrite. Not long before Leo was murdered, Leo and Mervyn had a very public argument where Mervyn threatened to kill Leo.
  • Giovanni “Gio” Bigotti (played by Jacob Fortune-Lloyd), Mervyn’s Italian lover, who is fairly quiet and very supportive of Mervyn. Giovanni and Mervyn are a gay couple in a “don’t ask, don’t tell way,” where they don’t make it obvious but they don’t try to hide the nature of their relationship either.
  • Dennis (played by Charlie Cooper), a Dominion Theatre usher who reported that he saw a “suspicious”-looking man lurking in the area where Leo’s murdered body was found.
  • Richard “Dickie” Attenborough (played by Harris Dickinson), the hotshot actor who’s the star of “The Mousetrap” play. Based on the real Attenborough, this character wants to do everything possible to keep the play going
  • Sheila Sim (played by Pearl Chanda), Dickie’s actress wife (based on the real Sheila Sim), whose career has become overshadowed by Dickie’s. Sheila and Dickie, who are co-stars in “The Mousetrap” play, have been experiencing some problems in their marriage, and their relationship has become somewhat strained.

World-renowned mystery writer Christie (played by Shirley Henderson) makes an appearance in the last third of the movie and does something awkward that isn’t handled very well or is made believable, considering that she is a crime aficionado. This tricky scene is played for laughs, but it could have been thought out in a much better way. Her devoted husband Max Mallowan (played by Lucian Msamati) and her prickly butler Fellowes (played by Paul Chahidi) also make appearances toward the end of the movie.

Constable Stalker is often a bundle of nervous energy when she’s with Inspector Stoddard. She talks quickly and is eager to share her knowledge of movies (she’s a big fan) and crime novels, but he shows disdain for this fiction entertainment influencing her thoughts as police investigator. Later, when Constable Stalker and Inspector Stoddard spend some time alone together, they open up to each other about their personal lives. She’s a widow with a son and a daughter. He’s divorced (his wife left him) with no children. Constable Stalker eventually finds out about Inspector Stoddard’s alcoholism and sees how vulnerable his alcoholism makes him.

Of course, every murder mystery reveals secrets about the people who are being investigated. Leo is not a sympathetic victim. The police find out that he has a long history of sexually harassing and possibly sexually assaulting women. Leo kept meticulous records of the women he encountered.

As an example of Leo being a sexual predator, he was staying at the luxury Savoy Hotel (in a suite paid for by John), where the maids eventually refused to go in Leo’s suite because of how badly he was sexually harassing them. On the night that Leo was murdered, he and Dickie got into a huge physical brawl in front of the party crowd. The fight happened because Leo sexually propositioned Sheila, by implying that Leo would cast her in “The Mousetrap” movie if she had sex with him.

“See How They Run” is filmed and performed much like how this movie would look if it really were filmed in 1953. This type of retro filmmaking won’t appeal to everyone, but the movie does a competent job of recreating the British culture, fashion and production design of that era. There are signs and not-so-subtle indications that Constable Stalker is an outsider not just because she’s a woman in a very male-dominated field but also because she’s an Irish immigrant living in the England.

Rockwell and Ronan, who are both talented in whatever they do, have a crackling chemistry as Stoppard and Stalker that intentionally starts off as uncomfortable to watch but becomes somewhat endearing as Stoppard and Stalker begin to trust each other in this “odd couple” police partnership. Oyelowo is also a standout because he looks like he’s having fun playing the pretentious and flamboyant Mervyn, who has some of the best lines in the movie.a

“See How They Run” falters with a few murky plot developments that raise questions that aren’t really answered. One of them involves the identity of Stoppard’s ex-wife. However, the movie does effectively lampoon a lot of the stereotypes of murder mystery movies, such as the use of flashbacks and using the most obvious suspects as red herrings. There are also many satirical moments about what showbiz people say and do in pursuit of fame, fortune and power.

Are there much better murder mystery movies in the world? Of course. “See How They Run” isn’t among the cream of the crop. However, for people who are inclined to like this genre and like watching talented cast members who give capable performances, this movie can offer some enjoyable escapism.

Searchlight Pictures will release “See How They Run” in U.S. cinemas on September 16, 2022. The movie was released in the United Kingdom on September 9, 2022.

 

Review: ‘The Bad Guys’ (2022), starring the voices of Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz and Richard Ayoade

April 21, 2022

by Carla Hay

Tarantula (voiced by Awkwafina), Snake (voiced by Marc Maron), Shark (voiced by Craig Robinson), Piranha (voiced by Anthony Ramos) and Wolf (voiced by Sam Rockwell) in “The Bad Guys” (Image courtesy of DreamWorks Animation)

“The Bad Guys” (2022)

Directed by Pierre Perifel

Culture Representation: Taking place in an unnamed city that resembles Los Angeles, the animated film “The Bad Guys” features a cast of characters depicting talking animals and humans.

Culture Clash: Five talking animals, which have reputations for being villains that scare people, are in a thieving gang and have various conflicts about their reputations and redemptions.

Culture Audience: “The Bad Guys” will appeal primarily to people interested in adventure-filled animated films that have messages about the dangers of misjudging people based on physical appearances.

Diane Foxington (voiced by Zazie Beetz) and Wolf (voiced by Sam Rockwell) in “The Bad Guys” (Image courtesy of DreamWorks Animation)

Amid the high-energy antics of the animated film “The Bad Guys” are meaningful messages about redemption and the pitfalls of misjudging people based on stereotypes. This comedic movie has some sly anti-hero subversiveness that shines, even when the plot gets a little messy and jumbled. “The Bad Guys” also has plenty of eye-catching visuals and memorable action sequences to satisfy viewers who are looking for thrills as well as laughs in this entertaining movie.

Directed by Pierre Perifel, “The Bad Guys” is based on Aaron Blabey’s “The Bad Guys” children’s books. The movie has elements from the first four books of “The Bad Guys” book series. Etan Cohen wrote the screenplay for “The Bad Guys” animated film, which is Perifel’s feature-film directorial debut. It’s a rollicking adventure that has massive appeal with people of various ages. The movie also avoids the mistake of overstuffing it with too many characters.

In “The Bad Guys,” the title characters are a gang of five animals that are social outcasts because they’re perceived as “bad creatures” that humans fear because these creatures have the ability to kill humans. Because they have reputations for being “bad,” they’ve all decided to become self-fulfilling prophecies of those reputations. They are a gang of thieves in a U.S. city that is unnamed, but it’s designed to look like Los Angeles, and it’s populated with humans, talking animals and non-talking animals.

The five talking animals in “The Bad Guys” gang are:

  • Wolf (voiced by Sam Rockwell), the group’s smooth-talking leader, who is a master pickpocket.
  • Snake (voiced by Marc Maron), Wolf’s frequently grumpy best friend, whose specialty is safecracking.
  • Tarantula (voiced by Awkwafina), a hyperactive and sarcastic computer hacker, who has the nickname Webs.
  • Shark (voiced by Craig Robinson), a somewhat goofy master of disguises.
  • Piranha (voiced by Anthony Ramos), a short-tempered loose cannon, who has the ability to spread noxious fumes when he passes gas.

In the beginning of the movie, it’s Snake’s birthday, which the rest of his friends want to celebrate, but Snake does not want a birthday party because he hates birthdays. Snake doesn’t even want to have a birthday cake, although he does mention that he’s interested in a delicacy that he wouldn’t mind having for his birthday: guinea pigs.

Not long after Snake and Wolf have a back-and-forth debate over how they are going to celebrate Snake’s birthday, the gang robs a bank. As they all make their getaway in a car driven by Wolf, he sneers, “Go bad or go home.” Back at their hideout, the five pals celebrate Snake’s birthday with some cake. He reluctantly enjoys the party.

This gang is the ultimate anathema to Misty Luggins (voiced by Alex Borstein), the city’s hot-tempered human police chief who feels personally humiliated every time that these troublemaking pals get away with their crimes. Someone else who is determined to stop this gang of thieves is the newly elected governor named Diane Foxington (voiced by Zazie Beetz), a confident and intelligent fox. Governor Foxington announces at a press conference about these criminals: “These so-called bad-guys are second-rate has-beens.”

The five gang members see the governor insulting them on TV, so they decide to prove her wrong. Wolf is aware that the downfall of many gangs is when they make their crimes too personal, but he can’t resist the idea of making the governor regret calling the gang a bunch of laughable hacks. The gang members also take delight in embarrassing Police Chief Luggins and her police department.

It just so happens that an upcoming gala presents the ideal opportunity for the gang to do a very high-profile heist. A famous, publicity-seeking philanthropist guinea pig named Professor Robert Marmalade IV (voiced Richard Ayoade) is being honored for his charitable work with the Good Samaritan Award. At this event, this valuable prize will be given in the form of a large trophy called the Golden Dolphin, which is a portable dolphin statue made out of gold.

Access to the Golden Dolphin is highly restricted. Governor Foxington, who will present the award to Professor Marmalade, is the only one who has clearance to a room where the Golden Dolphin is being kept before the ceremony. The room can only be opened through an eye detection sensor on the door, with the sensor programmed to open when it sees an eye of Governor Foxington.

The gang concocts an elaborate plan to crash the gala and steal the Golden Dolphin. And, of course, not everything goes according to the plan. Not surprisingly, Wolf plays the role of a charming gala guest to distract Governor Foxington. Because they are both canines, it’s repeated in the movie that wolves and foxes aren’t very different from each other. And you know what that means, especially when Wolf and Governor Foxington exchange the type of romantic comedy banter of a would-be couple trying to pretend they’re not attracted to each other.

“The Bad Guys” has some plot twists that are somewhat unexpected, while other plot twists are very easy to predict. Marmalade is a do-gooder who believes that criminals can be redeemed, so he very publicly declares that this gang of five should be given a path to redemption. Most of the movie’s plot is how the gang takes this redemption offer but secretly plans to steal the Golden Dolphin anyway.

The movie also has a subplot about guinea pigs being held captive for scientific experiments at a place called Sunnyside Laboratories. A human TV reporter named Tiffany Fluffit (voiced by Lilly Singh) provides some mild comic relief as a character written as a parody of TV reporters who care more about their egos, fame and tabloid stories than in being good journalists. And there’s a cute, unnamed cat (that doesn’t talk like a human), which ends up teaching Wolf and his gang some lessons in compassion.

“The Bad Guys” is a well-cast movie, since all of the voice cast members for the main characters bring a distinctive edge to each of their respective characters’ unique personalities. “The Bad Guys” is not a movie where the characters are easily confused with each other, because each has something memorable that sets that character apart from everyone else. In an animated movie business that’s over-saturated with stories about talking animals, “The Bad Guys” is an above-average winner that is sure to inspire sequels.

Universal Pictures/DreamWorks Animation will release “The Bad Guys” in U.S. cinemas on April 22, 2022. The movie was released in other parts of the world, beginning on March 17, 2022.

Review: ‘Trolls World Tour,’ featuring the voices of Anna Kendrick, Justin Timberlake, Rachel Bloom, Sam Rockwell, Anderson .Paak, James Corden and Kelly Clarkson

April 12, 2020

by Carla Hay

Poppy (voiced by Anna Kendrick) and Branch (voiced by Justin Timberlake) in “Trolls World Tour” (Image courtesy of DreamWorks Animation)

“Trolls World Tour”

Directed by Walt Dohrn and David P.  Smith

Culture Representation: This animated film sequel to 2016’s “Trolls” has a racially diverse cast (white, African American, Latino and Asian) voicing characters based on troll dolls.

Culture Clash: The trolls live in different territories based on the music of their lifestyles, and the queen of the rock territory wants to take over everything.

Culture Audience: “Trolls World Tour” is a family-friendly film that will appeal mostly to kids, adults who young at heart and people who like a variety of hit songs.

Barb (voiced by Rachel Bloom) in “Trolls World Tour” (Image courtesy of DreamWorks Animation)

On Broadway, there are jukebox musicals that string together a plot in between the performance of hit songs. And now, the jukebox musical trend has reached animated films with “Trolls World Tour,” which is a showcase for some original songs but mostly retro hits from various genres of music. This sequel to 2016’s “Trolls” packs in even more stars in the voice cast than its predecessor movie. The result is an energetic and vibrant ride that is utterly predictable but should be a crowd-pleaser for its intended audience.

Even though the plot of “Trolls World Tour” is pretty simple, there are five people who are credited with writing the screenplay: Jonathan Aibel, Glenn Berger, Maya Forbes, Wallace Wolodarsky and Elizabeth Tippet. The large writing team for this movie is also a reflection of the huge increase in the size of the “Trolls World” voice cast, compared to the first “Trolls” movie. Walt Dohrn, who co-directed “Trolls” with Mike Mitchell, returns as a director on “Trolls World Tour,” but this time with David P. Smith as co-director. Dohrn voices several of the supporting characters in both movies.

Viewers of “Trolls World Tour” don’t need to see the first “Trolls” movie to understand what’s going on in this sequel, but it helps if more of a backstory is needed for the two central characters in both films: Princess Poppy (voiced by Anna Kendrick) and her best friend/love interest Bark (voiced by Justin Timberlake). In “Trolls,” Bark (who tends to be overly pessimistic) became a reluctant ally and then eventual best friend to Poppy (who tends to be overly optimistic) in the Trolls’ quest to defeat the sad and angry creatures known as Bergens, whose goal was to make everyone in the world as miserable as they are.

In “Trolls World Tour,” the chief villain is Princess Barb (voiced by Rachel Bloom) a rocker girl who leads the Trolls whose music of choice is hard rock/heavy metal. Ozzy Osbourne is perfectly cast for the voice of King Thrash, Barb’s father. Barb’s goal is to have rock music take over all six territories in the Troll Kingdom. Each territory represents the music that embodies the Trolls’ lifestyle in each territory.

The other five territories represent the music genres of pop, techno, country, funk and classical. In the beginning of the movie, Barb and her minions arrive in a fleet of sharks to take over the techno territory. She takes a valuable guitar string from the Techno trolls and then she and her army of rock Trolls then move on to conquer the next territory.

When news of the invasion hits the pop territory, Poppy thinks that Barb has good intentions to unite all of the Trolls. But her father King Peppy (voiced by Dohrn) reveals a secret from the Trolls’ historical past: The Trolls almost had a civil war over their different tastes in music, so the music territories were created so Trolls who liked the same genre of music could live together in harmony. Each territory was bestowed with a magical guitar string that has the power to control that territory.

Barb is on a mission to collect all six of the magical strings to put them on a guitar. Once the guitar has the six strings on it, she’ll play an “ultimate power chord” that will give her and rock music complete control over all the Troll territories. Since “Trolls World Tour” is an animated jukebox musical, Barb belts out several rock songs along the way, including Scorpions’ “Rock You Like a Hurricane,” Osbourne’s “Crazy Train” and Heart’s “Barracuda.”

“Trolls World Tour” has several jokes about clichés and criticisms that go with certain music genres. The movie pokes fun at pop for being simple, repetitive “earworm” music. Rock is parodied for attracting low-life burnouts who wear mullets or mohawks and do “devil horn” signs. Country music has a stereotype of being full of sad songs and fans who act like rednecks or country bumpkins.

Classical music is labeled as “boring.” Techno gets criticism for its artists not playing “real” instruments. And funk (whose territory is populated with African American voice actors) calls out rap and pop for over-using funk samples. The original song “It’s All Love (History of Funk)” is a clap back to all the music that lifted funk riffs to make hit songs and funk artists not being paid properly for these samples.

Not for nothing, George Clinton (co-founder of Parliament-Funkadelic, one of the most-sampled groups of all time) is cast as new Trolls character King Quincy, who rules the funk territory Vibe City with Queen Essence (voiced by Mary J. Blige). The funk royals have a son named Prince D, voiced by hip-hop star Anderson .Paak, who performs the original song “Don’t Slack” with Timberlake in the film.  And returning Trolls character Cooper (voiced by Ron Funches) from the pop territory finds out that he has a connection to the funk territory.

“Trolls World Tour” once again has Poppy convincing a reluctant and wary Branch to go with her to help stop the chief villain before it’s too late. “Trolls” characters that are also in “Trolls World Tour” are loyal Biggie (voiced by James Corden) and wisecracking Guy Diamond (voiced by Kunal Nayyar), who provide some of the comic relief in the film

But there are so many new characters in “Trolls World Tour” that the movie could feel overstuffed for people who have short attention spans and might have trouble keeping track of them all. Guy now has a son named Tiny Diamond (voiced by Kenan Thompson). Delta Dawn (voiced by Kelly Clarkson) is a sassy, big-haired redhead who is a singer and leader of the country music territory.

Also in the country music territory is Hickory (voiced by Sam Rockwell), a multitalented and brave cowboy who befriends Poppy, much to Branch’s chagrin. Branch has been trying to tell Poppy that he loves her but is afraid to do it, so he gets jealous when it looks like Hickory is winning Poppy’s admiration. Hickory is the biggest standout new character in “Trolls World Tour” since he and his “yee-haw” can-do personality get a lot of screen time.

Some other supporting characters in the movie are the bounty hunters that Barb hires to help her track down the elusive pop guitar string that Poppy has in her possession. The bounty hunters are smooth jazz musician Chaz (voiced by Jamie Dornan), a clarinet-playing Kenny G type who plays hypnotic music that gets on people’s nerves. The other bounty hunters are musical groups representing reggaeton, K-Pop and yodelers. J Balvin has a cameo as the reggaeton leader, and his song “Mi Gente” is in the movie.

There are several familiar hits that get the medley treatment in “Trolls World Tour,” including Spice Girls’ “Wannabe,” Marky Mark and the Funky Bunch’s “Good Vibrations,” Psy’s “Gangnam Style,” Baha Men’s “Who Let the Dogs Out” and LMFAO’s “Party Rock Anthem.” Cyndi Lauper’s “Girls Just Wanna Have Fun” has the lyrics reworked with the word “trolls” replacing the word “girls.” Dierks Bentley’s song “Leaving Lonesome Flats” (written for “Trolls World Tour”) is featured in a country music segment. And an electronic-dance music concert in the movie’s opening scene has the DJ playing Daft Punk’s “One More Time.”

“Trolls World Tour” music directors are Timberlake and Ludwig Goransson, the musician who won an Oscar and a Grammy for the “Black Panther” score, as well as Grammys for co-writing and producing Childish Gambino’s “This Is America.” Timberlake and Goransson co-wrote and produced the majority of the original songs in “Trolls World Tour,” such as the ballad “Perfect for Me,” “Don’t Slack” and “Just Sing (Trolls World Tour),” which is the movie’s obvious signature anthem. The music is very catchy, but won’t be as huge as Timberlake’s “Can’t Stop The Feeling!,” the Oscar-nominated song from the first “Trolls” movie.

In its plot about Barb the villain trying to make all the Trolls conform to the way she wants them to be, “Trolls World Tour” has a message that people can live peacefully while respecting each other’s differences. It’s a message that comes wrapped in a lot of musical numbers and action sequences, but it’s something that audiences can take to heart. And along the way, some people might learn more about music genres that they might have previously dismissed because of certain prejudices.

Universal Pictures/DreamWorks Animation released “Trolls World Tour” for rental only on digital and VOD on April 10, 2020.

2019 Academy Awards: performers and presenters announced

February 11, 2019

by Carla Hay

Bradley Cooper and Lady Gaga
Bradley Cooper and Lady Gaga at the 76th Annual Golden Globe Awards on January 6, 2019. (Photo by Paul Drinkwater/NBC)

The Academy of Motion Picture Arts and Sciences has announced several entertainers who will be performers and presenters at the 91st Annual Academy Awards ceremony, which will take place at the Dolby Theatre in Los Angeles. ABC will have the U.S. telecast of the show, which will not have a host. As previously reported, comedian/actor Kevin Hart was going to host the show, but he backed out after the show’s producers demanded that he make a public apology for homophobic remarks that he made several years ago. After getting a  firestorm of backlash for the homophobic remarks, Hart later made several public apologies but remained adamant that he would still not host the Oscars this year.

The celebrities who will be on stage at the Oscars this year are several of those whose songs are nominated for Best Original Song. Lady Gaga and Bradley Cooper will perform their duet “Shallow” from their movie remake of “A Star Is Born.” Jennifer Hudson will perform “I’ll Fight” from the Ruth Bader Ginsburg documentary “RBG.” David Rawlings and Gillian Welch will team up for the duet “When a Cowboy Trades His Spurs for Wings” from the Western film “The Ballad of Buster Scruggs.” It has not yet been announced who will perform “The Place Where Lost Things Go” from the Disney musical sequel “Mary Poppins Returns.”** It also hasn’t been announced yet if Kendrick Lamar and SZA will take the stage for “All the Stars” from the superhero flick “Black Panther.”

Gustavo Dudamel and the L.A. Philharmonic do the music for the “In Memoriam” segment, which spotlights notable people in the film industry who have died in the year since the previous Oscar ceremony.

Meanwhile, the following celebrities have been announced as presenters at the ceremony: Whoopi Goldberg (who has hosted the Oscars twice in the past), Awkwafina, Daniel Craig, Chris Evans, Tina Fey, Jennifer Lopez, Amy Poehler, Maya Rudolph, Amandla Stenberg, Tessa Thompson Constance Wu, Javier Bardem, Angela Bassett, Chadwick Boseman, Emilia Clarke, Laura Dern, Samuel L. Jackson, Stephan James, Keegan-Michael Key, KiKi Layne, James McAvoy, Melissa McCarthy, Jason Momoa and Sarah Paulson. Goldberg and Bardem are previous Oscar winners.

Other previous Oscar winners taking the stage will be Gary Oldman, Frances McDormand, Sam Rockwell and Allison Janney, who won the actor and actress prizes at the 2018 Academy Awards.

Donna Gigliotti (who won an Oscar for Best Picture for 1998’s “Shakespeare in Love) and Emmy-winning director Glenn Weiss are the producers of the 2019 Academy Awards. This will be the first time that Gigliotti is producing the Oscar ceremony. Weiss has directed several major award shows, including the Oscars and the Tonys. He will direct the Oscar ceremony again in 2019.

**February 18, 2019 UPDATE: Bette Midler will perform “The Place Where Los Things Go,” the Oscar-nominated song from “Mary Poppins Returns.” British rock band Queen, whose official biopic is the Oscar-nominated film “Bohemian Rhapsody,” will also perform on the show with lead singer Adam Lambert. It has not been revealed which song(s) Queen will perform at the Oscars.

February 19, 2019 UPDATE: These presenters have been added to the Oscar telecast: Elsie Fisher, Danai Gurira, Brian Tyree Henry, Michael B. Jordan, Michael Keaton, Helen Mirren, John Mulaney, Tyler Perry, Pharrell Williams, Krysten Ritter, Paul Rudd and Michelle Yeoh.

February 21, 2019 UPDATE: These celebrities will present the Best Picture nominees: José Andrés, Dana Carvey, Queen Latifah, Congressman John Lewis, Diego Luna, Tom Morello, Mike Myers, Trevor Noah, Amandla Stenberg, Barbra Streisand and Serena Williams.

2018 Academy Awards: ‘The Shape of Water’ wins 4 Oscars, including Best Picture

March 4, 2018

by Carla Hay

With four awards, including Best Picture, the fantasy drama “The Shape of Water” (about a mute woman who falls in love with a sea creature) was the biggest winner at the 90th Annual Academy Awards, which were presented at the Dolby Theatre on March 4, 2018.  “The Shape of Water” went into the ceremony as the leading nominee, with 13 nods.

ABC had the live telecast of the 2018 Academy Awards, which was hosted by Jimmy Kimmel for the second year in a row. Also returning for a second year in a row were Best Picture presenters Faye Dunaway and Warren Beatty, who famously botched the winner announcement at the 2017 Oscar  ceremony. Unlike that show, the 2018 Oscar ceremony was free from major blunders. The ceremony, which almost never ends on time, went well over its allotted three-hour time this year, by running overtime for 53 minutes.

In the acting categories, there were no real surprises, since all of the winners were sweeping up prizes at previous award ceremonies. Solidifying their award-show winning streak were Gary Oldman of “Darkest Hour” (Best Actor); Frances McDormand of “Three Billboards Outside Ebbing, Missouri” (Best Actress); Sam Rockwell of “Three Billboards Outside Ebbing, Missouri”(Best Supporting Actor); and Allison Janney of “I, Tonya” (Best Supporting Actress).

Sam Rockwell, Frances McDormand, Allison Janney and Gary Oldman backstage at the 90th Annual Academy Awards at the Dolby Theatre in Los Angeles on March 4, 2018. (Photo by Michael Baker/A.M.P.A.S.)

All of the nominees for Best Picture won at least one Academy Award, except for “Lady Bird” and “The Post,” which were shut out of winning any of the prizes. In addition to winning Best Picture, “The Shape of Water” picked up Oscars for Best Director (for Guillermo del Toro), Best Production Design and Best Original Score. “Dunkirk” went into the ceremony with eight Oscar nominations and ended up winning three: Best Film Editing, Best Sound Editing and Best Sound Mixing.  “Get Out” won the Oscar for Best Original Screenplay, while “Call Me by Your Name” was named Best Adapted Screenplay. “Phantom Thread” received the prize for Best Costume Design. In addition to Oldman’s Best Actor win for “Darkest Hour,” the movie also won the Oscar for Best Makeup and Hair.

“Blade Runner 2049,” although not nominated for Best Picture, was another winner of more than one Oscar. The sci-fi sequel took the Academy Awards for Best Visual Effects and Best Cinematography. It was the first Oscar for “Blade Runner 2049” cinematographer Roger Deakins after he received  14 Oscar nominations. Another movie that won two Oscars at the 2018 ceremony was “Coco,” recipient of the prizes for Best Animated Feature and Best Original Song.

Diversity among Oscar nominees has become a big issue, especially since the #OscarsSoWhite controversies of 2015 and 2016, when all of the actors and actresses nominated for Oscars were white. The Time’s Up and #MeToo movements were also mentioned on stage many times during the ceremony, including comments from host Kimmel, presenters and winners. McDormand made probably the biggest statement of the night when, at the end of her acceptance speech, she asked all the female Oscar nominees to stand up, and she called for the industry to hire more women. McDormand concluded by saying this about how movie contracts should change: “I have two words to leave with you tonight … inclusion rider.”

Some of the high-profile women and people of color who won Oscars this year in gender-neutral categories included the aforementioned del Toro; Jordan Peele of “Get Out” (Best Original Screenplay); “Dear Basketball” writer Kobe Bryant; “Coco” songwriters Robert Lopez and Kristen Anderson-Lopez; and “A Fantastic Woman” director Sebastián Lelio.

Although serious topics were part of the Oscar ceremony, the show had moments of levity and planned stunts aimed at getting a laugh. At the beginning of the show, Kimmel said that the person who gave the shortest acceptance speech would win a Kawasaki jet ski and a trip to Lake Havasu. (“Phantom Thread” costume designer Mark Bridges won the prize.)

In 2017, Kimmel surprised a group of tourists who were brought into the theater to get their unscripted reactions. In 2018, Kimmel took a similar concept but instead brought several of the celebrities at the Oscar ceremony to a nearby movie theater to surprise people who were there to see an advance screening of Disney’s “A Wrinkle in Time.” (ABC is owned by Disney, so this was an obvious plug for the movie.) Some of the celebrities who joined Kimmel in passing out snacks to the surprised people at the movie theater were Gal Gadot (who kept exclaiming “This is better than the Oscars!”), Armie Hammer, Emily Blunt, Lupita Nyong’o, “The Shape of Water” filmmaker del Toro, Ansel Elgort, Lin-Manuel Miranda and Margot Robbie. The reactions of the unsuspecting crowd weren’t very funny or memorable, although Kimmel’s remark that the movie theater smelled like marijuana was a genuinely funny moment.

Here is the complete list of winners and nominations for the 2018 Academy Awards:

*=winner

Best Picture

Sally Hawkins and Octavia Spencer in “The Shape of Water” (Photo by Kerry Hayes)

“Call Me by Your Name” (Producers: Peter Spears, Luca Guadagnino, Emilie Georges and Marco Morabito)

“Darkest Hour” (Producers: Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski)

“Dunkirk” (Producers: Emma Thomas and Christopher Nolan)

“Get Out” (Producers: Sean McKittrick, Jason Blum, Edward H. Hamm Jr. and Jordan Peele)

“Lady Bird” (Producers: Scott Rudin, Eli Bush and Evelyn O’Neill)

“Phantom Thread” (Producers: JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi)

“The Post” (Producers: Amy Pascal, Steven Spielberg and Kristie Macosko Krieger)

“The Shape of Water” (Producers: Guillermo del Toro and J. Miles Dale)*

“Three Billboards Outside Ebbing, Missouri” (Producers: Graham Broadbent, Pete Czernin and Martin McDonagh)

Best Actor

Gary Oldman in “Darkest Hour” (Photo courtesy of Focus Features)

Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”*
Denzel Washington, “Roman J. Israel, Esq.”

Best Actress

Frances McDormand in “Three Billboards Outside Ebbing, Missouri” (Photo by Merrick Morton)

Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”*
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”

Best Supporting Actor

Sam Rockwell in “Three Billboards Outside Ebbing, Missouri” (Photo courtesy of Fox Searchlight Pictures)

Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”*

Best Supporting Actress

Allison Janney in “I, Tonya” (Photo courtesy of Neon)

Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”*
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Best Director

Director/writer/producer Guillermo del Toro on the set of “The Shape of Water” (Photo by Sophie Giraud)

Paul Thomas Anderson, “Phantom Thread”
Guillermo del Toro, “The Shape of Water”*
Great Gerwig, “Lady Bird”
Christopher Nolan, “Dunkirk”
Jordan Peele, “Get Out”

Best Adapted Screenplay

Timothée Chalamet, Michael Stuhlbarg and Armie Hammer in “Call Me by Your Name” (Photo by Peter Spears/Sony Pictures Classics)

“Call Me by Your Name,” James Ivory*
“The Disaster Artist,” Scott Neustadter and Michael H. Weber
“Logan,” Scott Frank, James Mangold and Michael Green
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees

Best Original Screenplay

Catherine Keener, Bradley Whitford, Allison Williams, Betty Gabriel and Daniel Kaluuya in “Get Out” (Photo by Jason Lubin)

“The Big Sick,” Emily V. Gordon and Kumail Nanjiani
“Get Out,” Jordan Peele*
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh

Best Animated Feature

A still from “Coco” (Photo courtesy of Disney•Pixar.)

“The Boss Baby,” Tom McGrath and Ramsey Naito
“The Breadwinner,” Nora Twomey and Anthony Leo
“Coco,” Lee Unkrich and Darla K. Anderson*
“Ferdinand,” Carlos Saldanha
“Loving Vincent,” Dorota Kobiela, Hugh Welchman and Ivan Mactaggart

Best Animated Short

A still from “Dear Basketball”

“Dear Basketball,” Glen Keane and Kobe Bryant*
“Garden Party,”Victor Caire and Gabriel Grapperon
“Lou,” Dave Mullins and Dana Murray
“Negative Space,” Max Porter and Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh and Jan Lachauer

Best Cinematography

Harrison Ford in “Blade Runner 2049” (Photo by Stephen Vaughan)

“Blade Runner 2049,” Roger Deakins*
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
“The Shape of Water,” Dan Laustsen

Best Documentary Feature

“Icarus” (Photo courtesy of Netflix)

“Abacus: Small Enough to Jail,” Steve James, Mark Mitten and Julie Goldman
“Faces Places,” Agnès Varda, JR and Rosalie Varda
“Icarus,” Bryan Fogel and Dan Cogan*
“Last Men in Aleppo,” Feras Fayyad, Kareem Abeed and Søren Steen Jespersen
“Strong Island,” Yance Ford and Joslyn Barnes

Best Documentary Short Subject

“Edith+Eddie,” Laura Checkoway and Thomas Lee Wright
“Heaven is a Traffic Jam on the 405,” Frank Stiefel*
“Heroin(e),” Elaine McMillion Sheldon and Kerrin Sheldon
“Knife Skills,” Thomas Lennon
“Traffic Stop,” Kate Davis and David Heilbroner

Best Live Action Short Film

“DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale and Josh Lawson
“My Nephew Emmett,” Kevin Wilson Jr.
“The Silent Child,” Chris Overton and Rachel Shenton*
“Watu Wote/All of Us,” Katja Benrath and Tobias Rosen

Best Foreign Language Film

Daniela Vega in “A Fantastic Woman” (Photo courtesy of Sony Pictures Classics)

“A Fantastic Woman” (Chile)*
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)

Best Film Editing

Mark Rylance (center) in “Dunkirk” (Photo by Melinda Sue Gordon)

“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith*
“I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

Best Sound Editing

Kenneth Branagh in “Dunkirk” (Photo by Melinda Sue Gordon)

“Dunkirk,” Alex Gibson, Richard King*
“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“The Shape of Water,” Nathan Robitaille
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood

Best Sound Mixing

A scene from “Dunkirk” (Photo by Melinda Sue Gordon)

“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo*
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

Best Production Design

Michael Shannon, Sally Hawkins and Octavia Spencer in “The Shape of Water” (Photo by Kerry Hayes)

“Beauty and the Beast” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
“Blade Runner 2049″ Production Design: Dennis Gassner; Set Decoration: Alessandra Querzola
“Darkest Hour” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
“Dunkirk” Production Design: Nathan Crowley; Set Decoration: Gary Fettis
“The Shape of Water” Production Design: Paul Denham Austerberry; Set Decoration: Shane Vieau and Jeff Melvin*

Best Original Score

Richard Jenkins and Sally Hawkins on the set of “The Shape of Water” (Photo by Kerry Hayes)

“Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat*
“Star Wars: The Last Jedi,” John Williams
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Best Original Song

A still from “Coco” (Photo courtesy of Disney•Pixar)

“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez*
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul

Best Makeup and Hair

Kristin Scott Thomas and Gary Oldman in “Darkest Hour” (.Photo by Jack English/Focus Features)

“Darkest Hour,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick*
“Victoria and Abdul,” Daniel Phillips, Lou Sheppard
“Wonder,” Arjen Tuiten

Best Costume Design

Lesley Manville (far left) in “Phantom Thread” (Photo by Laurie Sparham/Focus Features)

“Beauty and the Beast,” Jacqueline Durran
“Darkest Hour,” Jacqueline Durran
“Phantom Thread,” Mark Bridges*
“The Shape of Water,” Luis Sequeira
“Victoria and Abdul,” Consolata Boyle

Best Visual Effects

Ana de Armas and Ryan Gosling in “Blade Runner: 2049” (Photo courtesy of Warner Bros. Pictures)

“Blade Runner 2049,” John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer*
“Guardians of the Galaxy Vol. 2,” Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick
“Kong: Skull Island,” Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus
“Star Wars: The Last Jedi,”  Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlon
“War for the Planet of the Apes,” Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist

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