Thursday, January 23, 2020

Cast lifts familiar British gangster movie

Director Guy Ritchie may not be breaking new ground in The Gentlemen, but his actors provide the movie with some juice.
If the year were 1999 instead of 2020, director Guy Ritchie’s The Gentlemen might have seemed more inventive. Ritchie, you'll recall, made his cinematic bones with 1998’s Lock, Stock and Two Smoking Barrels, a fresh-feeling foray into a netherworld occupied by British gangsters.

In this outing, Ritchie again goes gangster but the verve that once defined Ritchie's style now feels a little proforma, something on the order of the difference between an arranged marriage and a spontaneous love affair.

After striking out with King Arthur (2017), it’s not surprising that Ritchie sought comfortable ground — and, to be fair, The Gentlemen derives a fair measure of entertainment from a spot-on cast.

Notable among a large ensemble is Hugh Grant, playing a sleazy, gay private detective with traces of cockney in his accent. Colin Farrell adds more color as Coach, a character who trains boxers and occasionally dips into the dark arts required to settle matters in the criminal world.

Add an unflappable Charlie Hunnam to the mix. Hunnam rides shotgun to Matthew McConaughey, who plays Mickey, a pot czar who pays off fading aristocrats for the privilege of building vast underground grow houses on their property.

Now another American (Jeremy Strong) wants to buy Mickey's vast empire so that he can reap illegal gains and be ready to capitalize when marijuana goes legit. Tired of life in the fast lane, Mickey may be willing to sell.

A Chinese gangster named Dry Eye (Henry Golding) also would like to purchase Mickey’s business, an ambition that sets off fireworks, notably a raid on one of Mickey’s mammoth facilities.

To add structural pizazz, Ritchie frames the story by having Grant’s character try to extort money from Hunnam’s character, using a screenplay to convince Ray to pay up. The screenplay gambit proves a bit much, even in a movie that's not afraid to display its cinematic self-consciousness.

True to its title, The Gentlemen is mostly an all-guys affair, although the dashing Mickey has a greyhound sleek wife (Michelle Dockery) who runs a garage staffed by many female mechanics. Mickey, we're told, relies on her judgment.

It takes time to get all the characters straight and to fully appreciate The Gentlemen, you need a taste for a narrative that hopscotches through the proceedings, sometimes creating confusion. You also may find yourself wondering whether any of these characters possibly could exist outside a Guy Ritchie movie.

Still, there’s pleasure in watching actors sink into juicy roles as we wait to see who among these felons will emerge as the king of the gangster jungle. In January, that may as good as we get.

Cage uncaged in weirdly amusing thriller

Color Out of Space pits an isolated family against a force from outer space.
Director Richard Stanley’s Color Out of Space might have been another mediocre horror film and, I suppose, parts of it still deserve that description. In adapting a story by H.P. Lovecraft, Stanley introduces us to a family living in rural isolation.

But Stanley smartly uses Lovecraft’s story as a launching pad for another memorable Nicolas Cage performance and as an opportunity to serve up a heaping helping of weirdness. Now the undisputed champion of over-the-top crescendos, Cage appears at his terrifying, comic best.

Cage plays Nathan Gardner, the father of a family which includes a teenage son (Brendan Meyer) and a younger son (Julian Hilliard).

The rural life doesn't seem to be doing any of the Gardners much good. Daughter Lavinia (Madeleine Arthur) dabbles in witchcraft. As she recovers from cancer surgery, Mom (Joely Richardson) battles the balky Internet connection that threatens to sink her investment-advisory business.

The already skewed family life of the Gardners is further upset when a mysterious flaming object lands in their yard. The object emits an eerie glow that may be a threatening alien life form. Plants begin to turn colors and various misfortunes befall the members of Nathan’s family. Deviations from the norm further compound: An insect the size of a football appears. The youngest son starts having conversations with characters no one else sees.

Stanley works with juxtapositions that border on the absurd: Lavinia’s witchy aspirations, dad’s preoccupation with the alpacas that he’s purchased as a possible source of revenue and the arrival of a very sincere hydrologist (Elliot Knight) who’s surveying the area.

The only other person living on Nathanial’s property is a squatter (Tommy Chong), an aging hippie who plays the role of deranged profit.

Cage — who’s playing a character who defies definition from the start -- eventually made me wonder if he weren’t using his performance to comment on the sheer insanity of what we’re watching. I decided he wasn't.

Most times, if you have questions about what an actor might be doing, you feel frustrated and deflated. In Cage's case, this uncertainty is precisely where he lives. He doesn't try to get laughs with a line reading; he just says the line and it comes out funny. In this case, he's playing a character who tries to normalize the most bizarre of occurrences, but with barely concealed undercurrents of madness that could, at any moment, tilt toward violence.

Stanely has fun with the movie's images, notably color settling over rural landscapes like a fog, some version of pink, I think. And, yes, blood and gore are given their due.

You can attach larger meanings to all of this if you want, an assault on the naive values of self-sufficiency and middle-class escapism, perhaps. But I chose to take Color Out of Space as a bizarre entertainment that gave me the creeps and made me laugh.

Stanley, by the way, hasn’t made a film since 1996’s Island of Dr. Moreau, a film on which he was replaced by John Frankenheimer. Stanley’s story is documented in a 2014 documentary called Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau. I haven’t seen it but plan to seek it out.

Stanley’s career aside, Color Out of Space makes for one of those irresistibly strange movies that leave your head buzzing. When you exit the theater, the world may look a little weirder than when you arrived. That's a form of success.

Kid and cops clash in a Parisian suburb

Les Miserables focuses the pressure cooker of immigrant life..
All aspiring artists hear it, the injunction that urges them to begin with what they know.

Like most advice, there’s nothing sacrosanct about it, but in the case of French director Ladj Ly, familiarity with his subject (the hard life in the commune of Montfermeil outside Paris) gives his version of Les Miserables plenty of gritty authenticity.

The movie begins in jubilation. A kid from the neighborhood (Issa Perica) wraps himself in a Tricolor cape and gathers his pals for a trip into the heart of Paris. It’s the day in 2018 when the French win the World Cup and Ly’s camera captures the pure exaltation of fans celebrating a longed-for victory. At that point, the kids are French through and through.

But as children of African immigrants that status won’t survive. Set during a single day, Les Miserables revolves around tense interactions between three cops (Alexis Manenti, Djibril Zonga, and Damien Bonnard), the kids we saw in the opening scenes and other figures in the neighborhood. These include the district’s mayor (Steve Tientcheu), a man who keeps order, as well as various members of the Muslim Brotherhood, an organization that tries to guide the kids toward the local mosque.

The cops approach their work with distinctly different attitudes. The worst of them is Manenti’s Chris, a police officer who happily accepts the name he’s been given by residents of the neighborhood he patrols: The call him “The Pink Pig.” Often arbitrary and cruel, Chris justifies his behavior by blaming it on the mean streets he patrols. He sees his cruelty as a necessity, not a choice. Zonga’s Gwada isn’t as narrow-minded as Chris, but he goes along with the program.

Bonnard plays a newcomer on his first day on the job. Chris demeans him with the nickname Greaser and does his best to exert his authority over the newbie. It quickly becomes apparent that Bonnard’s Stephane will act as the movie’s conscience, as well as the audience’s entry point into a rough-and-tumble world where the police are viewed as a clear enemy and where the neighborhood has its own rules, most of them ignored by the kids.

A kid with big eyeglasses (Al-Hassan Ly) serves as a witness to the various episodes that make up the movie: He shoots video of the neighborhood with a drone that captures the incident that will bring the movie to a violent boiling point.

More turmoil results when Issa steals a lion cub from a circus run by gypsies. The cops of the anti-crime squad try to find the lion to stave off a war between the gypsies and the gangs of Montfermeil.

As I said at the outset, Ly knows this terrain. He grew up in the Montfermeil area and drew on his experiences to make his movie, and we often feel his anger at the way these immigrants have been marginalized. The pressures squeezing a hot-house neighborhood — a creation of prejudice on the part of the larger society — becomes the movie’s real subject.

American audiences familiar with gritty street-level drama may find the movie a bit familiar, but there’s no escaping Ly’s conclusion: Those relegated to France’s banlieues are living in pressure cookers. We all know how the metaphor works. When pressure cookers overheat, they tend to explode.

Friday, January 17, 2020

A quirky story about young outcasts

Set in 1977, Troop Zero tries (boy does it ever) to uphold the rights of young outcasts to claim their place in the world, maybe even in the entire universe. Directors Bert & Bertie, a British directing team, build their story around Christmas Flint (Mckenna Grace), a girl who’s an outsider in the small town of Wiggly, Georgia. Christmas's widowed dad (Jim Gaffigan) plies his trade as an attorney, losing most of his cases and seldom being paid for his efforts. Gaffigan’s Ramsey Flint expects his assistant (Viola Davis) to look after his daughter, a task she approaches responsibly but not happily. The plot begins when Christmas makes friends with a girl who formerly bullied her (Milan Ray). She then assembles a group of girls to join the Birdies, scouts who are vying to see which of them will win a chance to record a message that NASA will send into space. The local Scout Master (Allison Janney) reluctantly accepts Christmas's crew as Birdies, labeling them Troop Zero. Lest boys feel left out, Birdie Troop Zero includes Christmas's best friend, Joseph (Charlie Shotwell). Of course, a group of by-the-book Birdies demeans the outcasts. The young actors do well enough and Davis’s portrayal suggests unexpected complexities for a movie that seems to want to be quirky and endearing at the same time. Christmas’s individuality takes a strange form: She’s a bed wetter, which the movie tries (weirdly, I think) to turn into a gesture of assertive defiance set to the tune of David Bowie's Space Oddity. A real emotional issue (grief over a lost mother) rises to the surface at the end, but an over-commitment to quirkiness can make Troop Zero feel like a song played out of tune.

Thursday, January 16, 2020

Older but still bad boys at heart

Will Smith and Martin Lawrence deliver for viewers who like these kinds of formula jobs.
Bad Boys for Life includes a late-picture plot twist so preposterous and far-fetched that it practically wraps itself in immunity from criticism. It's as if the filmmakers are saying, "Hey, you've come this far, might as well go along with the rest."

With this third in the Bad Boy series, which began in 1995 and continued with a sequel in 2003, Will Smith and Martin Lawrence attempt to reclaim box-office potency and prove that buddy movies, even in re-treaded form, are as much big-screen staple as corn is to American agriculture.

Director Michael Bay, at the helm for the first two movies, cedes directing chores to Adil El Arbi and Bilall Fallah, a duo that lives in Belgium. They approach the challenge with something approaching cheerful brio.

Now, it needs to be said at the outset that any movie that looks for its juice from Mexican drug cartels, which Bad Boys for Life does, already feels a trifle old hat. But Arbi and Fallah don’t seem to care. For them, it's pedal to the metal and full speed ahead.

The directors must have known that they’ve been charged with ensuring, as many critics previously have noted, that thair movie includes ample amounts of bullets and banter, both of which they ladle out in over-sized helpings.

On the way out of a preview screening, an audience member described the movie as “fun.” That's what movies such as Bad Boys for Life are supposed to provide — fun with bloodshed or maybe it's the reverse, bloodshed with fun.

To be fair, Bad Boys for Life does provide some fun. The banter between Will Smith’s Mike and Martin Lawrence’s Marcus ranges from funny to routine. Smith, of course, plays the serious cop; Lawrence provides the comic relief as a Miami detective who wants to retire, particularly after a mysterious assassin riddles Mike with bullets in the movie’s early going.

Though badly wounded, Mike makes a miraculous recovery. He then decides that he must find the motorcycle-riding murderer who gunned him down in the street. Of course, he wants Marcus to join him.

No, says Marcus, who insists on hanging up his badge so that he can watch his infant grandson grow up. Besides, when Mike was hovering near death in the hospital, Marcus promised God that he wouldn’t commit any more violent acts if Mike pulled through.

Will Marcus finally relent? What do you think?

A wary police captain (Joe Pantoliano) half-heartedly tells Mike not to investigate his own case, but even he knows that Mike won't listen. In movies such as this, no one gets in the way of the formula.

That doesn't mean the filmmakers can't accessorize. The screenplay surrounds Mike and Marcus with a kind of tech-savvy IM Force led by Miami cop played by Paola Nunez. She and Mike once had a thing.

As it turns out, the plot against Mike has been authored by the vicious widow (Kate del Castillo) of a drug lord who Mike helped bring down. The widow insists that her equally brutal and maniacally focused son (Jacob Scipio) make Mike suffer before killing him.

If you have no taste for this kind of mayhem, Bad Boys for Life gives you no reason to expand your window of tolerance.

If, on the other hand, you're up for a well-oiled big-screen machine that gives Smith a chance to mix dead-pan seriousness with a bit of charm and eventually makes room for Lawrence to find his way to some real laughs, you could do worse.

Bad Boys for Life provides the expected jokes about aging, but a teaser that runs during the film’s end credits suggests that we take the title seriously. Smith and Lawrence may be in it for the duration.

Wednesday, January 15, 2020

Sisters separated by treachery and deceit

The Brazilian film Invisible Life tells its story in bold, emotional strokes.
Although it occasionally surrenders to melodrama, Invisible Life remains solidly grounded in the reality of daily life in Rio de Janeiro. Setting his story in the 1950s, director Karim Ainouz follows the lives of two sisters, each suffering because of a tyrannical father.

Though united in spirit, the sisters are tragically separated when Guida (Julia Stockler), the wild-child sister, runs off with a Greek sailor, a choice that sends her life into decline. The more sedate Euridice (Carol Duarte) wants to study classical piano in Austria and has little interest in unleashing her sexuality.

The fates of both sisters are determined by their father (Antonio Fonesca), a baker who disowns Guida when she returns to Rio pregnant. He refuses to accept a daughter who will bring him a "bastard grandchild."

Fonesca's Manoel also pushes Euridice into a loveless conventional marriage.

Ainouz takes his time developing the story but makes a point of allowing bursts of energy to break the movie's surface, Euridice wildly dancing at her wedding, for example. A less-than-erotic encounter between the bride and groom follows the celebration.

Even though Guida returns to Rio, her father never tells Euridice that her sister has come back to Brazil. He also lies to Guida, telling her that Euridice lives in Europe where she's pursuing a career as a pianist.

Although they're living in the same city, the sisters never meet; they almost encounter each other at a restaurant at one point, but they remain apart -- each assuming the other is living the life she dreamt of as a young woman.

Euridice plods unhappily through married life. For her part, Guida finds a home in one of Brazil's lower-class neighborhoods. She cares for her son and creates a kind of impromptu family with some of the residents.

The movie eventually deals with the lie that has separated the sisters. No fair saying more, but you probably can guess that the story will not resolve happily. In all, Invisible Life makes for a moving look at a bond that endures despite out-dated rules and a father's uncompromising rigidity.

In her last film, Agnes Varda reviews her art

I'm guessing that when Agnes Varda, who died last March at the age of 90, began assembling Varda by Varda, she might have sensed that she was writing her own obituary. The result: a biography of a creative life.

That's not to say that there's anything morbid, self-congratulatory or nostalgic about Varda's movie. Varda by Varda turns out to be a catalog of an artist's process of invention -- not in any self-serving way, but in a manner that underscores Varda's commitment to an idea: Creation should be shared. Her final movie can be taken as an act of generosity. She had things to tell us.

At times, Varda can be seen talking to audiences as if to underscore that she's not interested in solitary reflection. As always, Varda insists on engagement.

Varda uses clips from many of her films, analyzing them and explaining how they developed. Among the features she discusses: Cleo from 5 to 7 and Vagabond.

We learn that Varda's later documentary work tended to rely on streamlined, simplified production methods, sometimes only the director and a small video camera that she operated. Varda followed her eye where it took her, often capitalizing on serendipitous moments that found her camera.

In her last decade, Varda branched out from filmmaking to become what she calls a "visual artist." Her installations can be whimsical or sharp -- or both. They make you understand that only death could have halted Varda’s voracious interest in the world around her, in things that can be seen or touched and, above all, captured with a camera. Even in old age, Varda's eyes remained open to new possibilities.

As an artist, she never stopped growing.

Monday, January 13, 2020

The 2020 Oscar nominations have arrived. Feel free to cheer, carp or complain.

Oscar has spoken.

The 2020 nominations are in, effectively trumping all other awards that have been given out thus far. Let’s be real: If Brad Pitt wins an Oscar as best supporting actor for his work in Once Upon a Time ... in Hollywood, the Oscar probably will occupy a higher place on his mantel than the Golden Globe he already has won, presuming, of course, that Pitt's home includes a mantel.

You get the point: When it comes to awards, Oscar remains the big boy on the block.

For many, my use of the words “bog boy” should be telling. The 2020 edition didn’t prove to be a banner year for women or for diversity. No women directors were nominated in a year when many expected Greta Gerwig to receive a nomination for her direction of Little Women.

Gerwig did receive a nomination in the best-adapted screenplay category and Little Women also received a best-picture nod.

Meanwhile, re: additional outrage over the fact that no women were nominated in the best director category. The woman who most belonged on that list is probably someone most Academy voters never considered. Australian director Jennifer Kent’s Nightingale was not only one of the year’s best movies, but it offered a devastating critique of British colonialism.

Of course, there were other snubs. Jennifer Lopez didn’t receive a supporting actress nomination for her work in Hustlers. Should she have taken Kathy Bates’ place on that list? Bates was nominated for playing Richard Jewel’s mother in Richard Jewel. I'd have opted for Zhao Shuzehen, who played the grandmother in The Farewell.

The list of best-supporting actor nominees is strong, but I would have put Jamie Foxx (Just Mercy) ahead of Tom Hanks (A Beautiful Day in the Neighborhood). And, no, that doesn’t mean I didn’t admire Hanks’ performance. It just means I thought that as an innocent man on death row, Foxx went places that were difficult to reach. Heartbreak without sentiment.

But (and I can’t believe I’m about to say this) the biggest acting affront was the omission of Adam Sandler from the best-actor list. I understand that Uncut Gems isn’t a movie for everyone. It’s tough, profane and relentless. But it’s difficult to imagine anyone but Sandler holding the movie together. As a jeweler looking for a big score, Sandler sustained his character’s manic energy from beginning to end.

I was surprised that Todd Phillips (Joker) turned up on the best director list. But as one of the dissenting critics who admired Joker, I wasn’t disappointed. Phillips made an anti-comic book movie out of a comic-book character. He did it with ominous atmospherics and, of course, Joaquin Phoenix’s bravura turn as Joker.

Nominated in the best-actor category, Phoenix emerges as the presumed favorite. Joker's 11 nominations topped the list.

Notably, two actresses on this year’s best-actress list gave performances that carried their movies: Renee Zellweger as Judy Garland in Judy and Cynthia Erevo as Harriet Tubman in Harriet. Both actresses were the best part of their respective movies.

As for best actor, I was mildly surprised to see Jonathan Pryce (Two Popes) on the list. Pryce played Jorge Bergoglio, the Argentine cardinal en route to becoming Pope Francis. Granted Pryce plays the softer of the two characters, but Anthony Hopkins (nominated for best supporting actor in the same movie) blew Pryce off the screen, sneakily at first and later with quiet assurance.

I'd have included Robert DeNiro for his performance as Frank Sheeran in The Irishman.

So let’s sum up with a complete list of nominees and with my customary reminder that Oscar is ... well ... Oscar and doesn’t necessarily have anything to do with which movies and performances deserve to be enshrined in the most important hall of fame of all: our own big-screen memories.

Best Picture
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite

Best Actress
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actor
Antonio Banderas, Pain and Glory
Leonardo DiCaprio, Once Upon a Time in Hollywood
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Actress in a Supporting Role
Kathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell

Best Director
Bong Joon Ho, Parasite
Sam Mendes, 1917
Todd Phillips, Joker
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time in Hollywood

Best Adapted Screenplay
The Irishman, Steven Zaillian
Jojo Rabbit, Taika Waititi
Joker, Todd Phillips & Scott Silver
Little Women, Greta Gerwig
The Two Popes, Anthony McCarten

Best Original Screenplay
1917, Sam Mendes & Krysty Wilson-Cairns
Knives Out, Rian Johnson
Marriage Story, Noah Baumbach
Once Upon a Time in Hollywood, Quentin Tarantino
Parasite, Bong Joon Ho & Jin Won Han

Best International Film
Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)

Best Documentary Feature
American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

Animated Feature
How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

Production Design
The Irishman
Jojo Rabbit
1917
Once Upon a Time in Hollywood
Parasite

Film Editing
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Parasite

Cinematography
1917, Roger Deakins
The Irishman, Rodrigo Prieto
Joker, Lawrence Sher
The Lighthouse, Jarin Blaschke
Once Upon a Time in Hollywood, Robert Richardson

Visual Effects
Avengers: Endgame
The Irishman
The Lion King
1917
Star Wars: The Rise of Skywalker

Costume Design
The Irishman
Jojo Rabbit
Joker
Little Women
Once Upon a Time in Hollywood

Sound Mixing
Ad Astra
Ford v Ferrari
Joker
1917
Once Upon a Time in Hollywood

Sound Editing
Ford v Ferrari
Joker
1917
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker

Original Song
"I Can't Let You Throw Yourself Away," Toy Story 4
"(I'm Gonna) Love Me Again," Rocketman
"I'm Standing With You," Breakthrough
"Into the Unknown," Frozen II
"Stand Up," Harriet

Original Score
Joker, Hildur Gudnadóttir
Little Women, Alexandre Desplat
Marriage Story, Randy Newman
1917, Thomas Newman
Star Wars: The Rise of Skywalker, John Williams

Makeup and Hairstyling
Bombshell
Joker
Judy
Maleficent: Mistress of Evil
1917

Live-Action Short Film
Brotherhood
Nefta Football Club
The Neighbors' Window
Siria
A Sister

Animated Short Film
Dcera (Daughter)
Hair Love
Kitbull
Memorabl
Sister, Siqi Song

Documentary Short Subject
In the Absence
Learning to Skateboard in a Warzone (If You're a Girl)
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha

Sunday, January 12, 2020

Critics' Choice goes to 'Once Upon a Time'

Once Upon a Time... in Hollywood won four awards at the Critics Choice Association's 25 annual Critics' Choice Awards, the most of any 2020 nominee. In addition to best original screenplay, best-supporting actor and best production design, director Quentin Tarantino's movie took top honors for best picture.

As a member of the Broadcast Film Critics Association, I vote in the movie segment of the Critics' Choice awards, which also honor outstanding work in television.

In this compressed awards season, it's notable that the Critics' Choice Awards were given out on Sunday, the night before the Academy of Motion Picture Arts and Sciences was slated to announce 2020's Oscar nominees. Stay tuned.

Here, though, are this year's Critics' Choice winners:


BEST PICTURE
Once Upon a Time … in Hollywood

BEST ACTOR
Joaquin Phoenix – Joker

BEST ACTRESS
Renée Zellweger – Judy

BEST SUPPORTING ACTOR
Brad Pitt – Once Upon a Time … in Hollywood

BEST SUPPORTING ACTRESS
Laura Dern – Marriage Story

BEST DIRECTOR (TIE)
Bong Joon Ho – Parasite
Sam Mendes – 1917

BEST ORIGINAL SCREENPLAY
Quentin Tarantino – Once Upon a Time … in Hollywood

BEST ADAPTED SCREENPLAY
Greta Gerwig – Little Women

BEST CINEMATOGRAPHY
Roger Deakins – 1917

BEST PRODUCTION DESIGN
Barbara Ling, Nancy Haigh – Once Upon a Time … in Hollywood

BEST EDITING
Lee Smith – 1917

BEST COSTUME DESIGN
Ruth E. Carter – Dolemite Is My Name

BEST HAIR AND MAKEUP
Bombshell (Lionsgate)

BEST VISUAL EFFECTS
Avengers: Endgame

BEST ANIMATED FEATURE
Toy Story 4

BEST YOUNG ACTOR/ACTRESS
Roman Griffin Davis -- Jo Jo Rabbit

BEST ACTION MOVIE
Avengers: Endgame

BEST COMEDY
Dolemite Is My Name

BEST SCI-FI OR HORROR MOVIE
Us

BEST FOREIGN LANGUAGE FILM
Parasite

BEST SONG (TIE)
Glasgow (No Place Like Home) – Wild Rose
I’m Gonna (Love Me Again) – Rocketman

BEST SCORE
Hildur Guðnadóttir – Joker

And, if you like numbers, here are totals for movies that won more than one award:

ONCE UPON A TIME … IN HOLLYWOOD - four
Best Picture
Best Supporting Actor – Brad Pitt
Best Original Screenplay – Quentin Tarantino
Best Production Design – Barbara Ling, Nancy Haigh

1917 – three awards
Best Director – Sam Mendes (Tie)
Best Cinematography – Roger Deakins
Best Editing – Lee Smith

AVENGERS: ENDGAME – two
Best Visual Effects
Best Action Movie

DOLEMITE IS MY NAME - two
Best Costume Design – Ruth E. Carter
Best Comedy

JOKER – two
Best Actor – Joaquin Phoenix
Best Score – Hildur Guðnadóttir

PARASITE -- two
Best Director – Bong Joon Ho (Tie)
Best Foreign Language Film