Tag: Christian bale

Categories
Review

Thor: Love and Thunder (2022)

Thor: Love and Thunder is the latest installment in the Thor franchise and most recent addition to the Marvel Cinematic Universe. The film follows Norse God of Thunder, Thor (Chris Hemsworth) who has been on many adventures with the Guardians of the Galaxy. When it transpires that Gods across the universe are being slaughtered by Gorr, the God Butcher (Christian Bale), Thor must return to New Asgard with Korg (Taika Waititi) and team up with Valkyrie (Tessa Thompson) and Jane Foster (Natalie Portman), who has bonded with Thor’s old hammer, Mjolnir, and becomes the Mighty Thor in the hopes of stopping Gorr from completing his quest.

The film is directed by Taika Waititi who cowrote the script with Jennifer Kaytin Robinson. Whereas Thor: Ragnarok leaned more heavily on its use of humour to mark a change in tone for the Thor franchise, it seems that Waititi wanted to incorporate a more serious undertone with the film’s discussions on loss of faith and loss of love and grief. However, if seems that Waititi and Robinson struggled at parts to get a balanced tone in certain parts as there were moments of sincerity that were undercut with humour and it didn’t quite land in the way it was meant to. These moments tended to be when Jane was discussing her illness with Thor. The writing in the opening sequence with Gorr felt overly explained and it would have had a stronger impact if every stage of Gorr’s plan wasn’t whispered to him as the audience can put the pieces together of what his intentions are at this point in time. That being said, the final act of the film was among the best that Marvel has to offer as Waititi and Robinson weren’t afraid to confront darker and sadder themes.

Chris Hemsworth is fantastic as usual in the leading role of Thor, continuing to showcase the funnier side of the God of Thunder that Waititi introduced us to in the previous installment, Thor: Ragnarok. Despite the tonal misbalance in the writing, Hemsworth does an excellent job of leading the film, while also proving his ability to balance comical and dramatic acting. His scenes with Jane are filled with inner emotional conflict that he refuses to admit, but as the film progresses, his vulnerability begins to show. It’s clear that despite all the success that Thor has and how much he has achieved, not having Jane in his life has taken its emotional toll on him.

Natalie Portman’s performance is heartbreaking as Jane is revealed to be terminally ill. As her body us unable to fight against the cancer, Jane turns away from science and looks to magic in the hope that it will save her life. She is called by Mjolnir, Thor’s old hammer, and becomes Mighty Thor. While Jane was arguably wasted in previous Thor films, especially, Thor: The Dark World, Thor: Love and Thunder makes the most of Portman’s exceptional talent. She is able to weave in traces of her own personality and passions, including lines that reference Jane’s strength as a woman and her achievements as a woman in science. Thor: Love and Thunder works as an ode to Jane’s character and makes complete use of Portman’s abilities.

Christian Bale is the film’s scene stealer as Gorr the God Butcher. Following his daughter’s demise in the film’s opening scene, Gorr becomes disillusioned with the concept of Gods and their duty to provide salvation for their followers. He is chosen by the Necrosword and vows to kill all Gods with the weapon. The way that Gorr is portrayed and written into the film is unlike the majority of Marvel villains. We truly get to see Gorr’s perspective as his frail and starving demeanor is transformed into a monster that is almost ghostly as he makes his way across the universe, slaying Gods. Another reason that Gorr is an intriguing character is that his reasoning for killing Gods is actually justified. He and his community have committed their lives to serving Gods that simply do not care for their devotees. His quest for justice is by no means right, but it’s not entirely wrong either. Just as the Shadow Realm is portrayed, we venture into a grey area in terms of morality.

The cinematography provided by Barry Idoine is highly striking and makes Thor: Love and Thunder such a rollercoaster to watch. The vibrancy of the scenes in Omnipotent City where the remaining Gods reside contrasts beautifully with the darkness of the Shadow Realm where Gorr is residing. The scenes in the Shadow Realm may be stripped of colour, but the way Idoine angles and contrasts the darkness and light goes hand in hand with the film’s themes of right and wrong. As Thor, Mighty Thor and Valkyrie search for the children in the Shadow Realm, their weapons light the way and provide glimpses of colour on their clothes and skin, which is a very nice touch to show their limited power in this place.

While Thor: Love and Thunder may have moments of tonal misbalance and a script that doesn’t quite hit the same mark as predecessor, Thor: Ragnarok, it does a brilliant job of bringing in old and new characters, while also allowing Waititi to integrate his own signature quirkiness and humour into the mix. With plenty of appearances from a variety of characters including the Guardians of the Galaxy as well as a fantastic performance by Russell Crowe as Zeus, Thor: Love and Thunder is an entertaining watch that includes some brilliantly executed emotional moments as well as a stunning turn from Bale.

What did you think of Thor: Love and Thunder? Let me know in the comments below!

Thor: Love and Thunder is available to watch in cinemas now!

Categories
Review

The Batman (2022)

THE BATMAN, Robert Pattinson as Batman, 2022. ph: Jonathan Olley / © Warner Bros. / Courtesy Everett Collection

In recent years, we have seen many franchises emerge with plenty of reboots, prequels and sequels dominating the film industry. A lot of these films tend to provide plenty of nostalgia and familiarity that is enjoyable to watch, but offers nothing new. One such franchise that is reinvented time and time again is DC’s Batman. Following Christopher Nolan’s Dark Knight Trilogy, it felt as though the franchise couldn’t get more gritty and dark, but Matt Reeves proves it can be done with this year’s The Batman. The film is filled with characters that we all know and love including the titular character himself (Robert Pattinson), Catwoman (Zoë Kravitz), and Detective Gordon (Jeffrey Wright) to name a few. Rather than fill the film with the usual villains such as the Joker, Reeves has chosen villains who have been overlooked or not as widely used cinematically with the Riddler (Paul Dano) and the Penguin (Colin Farrell) being the major villains in the film. Unlike other Batman adaptations, this Batman is not as refined in his fighting skills, making him more realistic, while also finding out more about what his parents were really like and the mystery surrounding their untimely death.

The Batman is directed by Matt Reeves who cowrote the screenplay with Peter Craig. Reeves development as a true visionary feels as though it has come full circle since he became a household name in 2008 with Cloverfield. Just as Cloverfield pushed narrative boundaries and explored alternative filming techniques, Reeves applies this innovative way of thinking with The Batman. From the telescopic point of view that opens the film, to the brilliantly shot climactic scene in which Batman beats up a load of cronies in a dark hallway with the only lighting provided by gunfire, Reeves brings an element of true imagination to a studio blockbuster and shows that not all superhero films need to contain a formulaic structure and content. The screenplay is particularly brilliant and perfectly delves into Bruce’s character without feeling too over the top, while also having plenty of fun with the Riddler’s character and his clues.

Robert Pattinson proves himself more than capable of taking on the Caped Crusader and can simply be explained as a perfect mix between Michael Keaton’s and Christian Bale’s performances. The film has more interest and focus in seeing the character as Batman rather than Bruce Wayne, which serves the narrative brilliantly. Pattinson’s Batman is unlike others because his fighting skills aren’t perfect and there are moments when he is getting beaten up by thugs. The Batman is a much more violent take on the character, but one that feels more realistic and less like a regular superhero film as it feels as though Batman is just a man wearing a suit who can fight. Pattinson’s Bruce is moody and isolated from the world, despite living in the centre of the city, while his Batman is relentless and will do anything to get to the bottom of the situation. The scene in which Batman confronts the Riddler in Arkham State Hospital is the best in the film as it shows the character break face as he tries to figure out what the villain has planned.

Playing opposite Pattinson is Zoë Kravitz as Catwoman in a turn that feels revolutionary for a character that has been overtly sexualised over the years. Kravitz’s Catwoman is unapologetic in her actions and isn’t afraid to stand up for what she believes in, even if it isn’t necessarily the morally right thing. From the moment that Kravitz steps onto the screen, the audience is immediately drawn to her. What is amazing about Kravitz’s performance is how well she develops Selina’s character throughout the film, so her turn never gets boring or loses steam. Not only does she have great chemistry with Pattinson which makes the film gripping to watch in its entirety, but Kravitz’s Catwoman is incredibly strong and capable of asserting her own agency without the need for male assistance or approval, which feels revolutionary and authentic in how it is portrayed onscreen.

The main antagonist in the film is the Riddler, who is played phenomenally by the always fantastic, Paul Dano. In a career that has shown gigantic range, Dano appears to be getting the recognition that he has long deserved from mainstream audiences thanks to his menacing Riddler. It’s an unpredictable performance that shows the same level of dedication and characterisation that he brings to films such as There Will Be Blood and Prisoners. Even when he is not onscreen, his presence is felt through the entire film in the game of cat and mouse thanks to his ability to be a perfect match for Pattinson’s Batman. Dano may not be obvious choice for a superhero villain, but he’s proven that he is more than capable of performing exceptionally well in any genre.

In a film full of brilliant performances it’s difficult to choose which one was best of all, but in this instance, it has to go to Colin Farrell who is completely unrecognisable as the Penguin, a sleezy mobster who helps Carmine Falcone (John Turturro) run Gotham’s crime scene. Although he only has a small role in the film, Farrell is absolutely magnetic and steals every scene he is in. The chase scene between him and Batman is brilliantly executed and highly intense. Farrell has been knocking it out of the park for years and proven that he is a flawless character actor who is able to fully immerse himself into each character he plays. His Penguin doesn’t feel like a caricature, although there are some funny moments, and it’s exciting to see if he will star in the sequel.

The score is composed by Michael Giacchino, who has brought us a slew of iconic soundtracks over the years spanning across various genres including family films such as Ratatouille and Up as well as blockbusters such as Jurassic World and Rogue One: A Star Wars Story. It only makes sense that someone like Giacchino fits the bill considering his resume, and he delivers his best score in years. The main character theme consists of four hard-hitting notes that have become immediately identifiable. The opening track “Can’t Fight City Halloween” is riveting and atmospheric, instantly transporting the audience into the grime and horror of Gotham City.

The Batman delivers brilliance from start to end thanks to its gritty aesthetic, innovative filming techniques, and incredible characterisation filled with great performances from both the heroes and the villains. Pattinson’s career has gone from strength to strength and with The Batman, he is able to translate his indie successes to a huge blockbuster. Reeves has done a great job of setting up this particular Batman universe, and with the hint of a new villain (probably the Joker) incorporated into the film’s narrative, it’s only a matter of time before we see a sequel to The Batman.

What did you think of The Batman? Let me know in the comments below!

The Batman is available to view in cinemas now!

Categories
Uncategorised

91st Academy Awards – Technical Awards

_D5A6932.NEF

My last blog on this year’s Oscars concludes with the Technical awards. This year has seen a huge number of large scale blockbusters that heavily use CGI to achieve their vision as well as smaller films that rely on using what they have. Both methods take imagination and it’s great to see films recognised across this spectrum.
Just in case you want to read my other blogs on this year’s Oscars, I’ll put the links below here:
Acting Awards
Creative Awards – Part 1
Creative Awards – Part 2
Creative Awards – Part 3
Here is my roundup of this year’s technology award winners!

Best Visual Effects
It seemed that Black Panther was the favourite to take this award home but the team for Neil Armstrong biopic First Man won. I feel that this film was deeply overlooked in various categories, particularly sound editing and this one throughout awards season but to see it recognised for its terrifically executed effects was deserved. I don’t think I have ever felt so claustrophobic watching a film before but this film managed to accomplish this from the first scene. Although the cast was the main talking point for this film on its release, I think that the visual effects were the standout feature of this film.

Best Sound Editing
I was happy to see First Man nominated in this category but given that it was up against box office smash Bohemian Rhapsody, I knew that it would lose. Personally, I feel that First Man should have taken this home but Bohemian Rhapsody is a film that relies heavily on its sound editing. I think that First Man used sound in a way that I hadn’t expected or seen before.


Best Sound Mixing
Again, Bohemian Rhapsody was the expected winner here and didn’t disappoint. I was happy with the win considering how they utilised mixing the Rami Malek’s vocals with Freddie’s so it wasn’t simply a case of Malek lip syncing his way through the film. It helped enhance Malek’s amazing performance and I think the win in this category was thoroughly deserved.

Best Editing
A lot of wins for Bohemian Rhapsody in the categories in this blog and this is the one of the film’s wins that I strongly disagreed with personally. I think that my main problem with the film as a whole was its editing. There were scenes that consisted of numerous cuts that made the film jittery. The film on the whole doesn’t flow well because it is badly paced and the editing is one of the main contributors to this problem. I thought that Hank Corwin should have won this category for his brilliant editing in Vice. It was innovative and unexpected, keeping the audience in a state of discomfort as we didn’t know what would happen next. The editing in Vice reflected the erratic nature of its subject and I think it conveys this fantastically.

Best Cinematography
Without a shadow of a doubt, this was Alfonso Cuaron’s for the taking and he won it completely deservedly for Roma. He manages to convey the problems of a Mexican classist society by keeping the focus solely on protagonist Cleo. Cleo becomes an embodiment of the working class female and the struggles of living a life that seems to be against her. Her story is told in black and white but the film is anything but. It teeters on a spectrum of emotions as we see Cleo in her darkest moments as well as her happier times as she navigates a pregnancy. Cleo’s friendship with her employer is beautifully conveyed as well as the two women bond over their mutual struggles.

That’s it for my Oscars roundup! What did you think of this year’s ceremony? Leave your comments below!

Categories
Uncategorised

91st Academy Awards – Creative Awards (Part 3)

Now I’m well into my roundup of this year’s Academy Awards and the more I write about it, the more I realise just how many surprises there actually were. In my first blog I spoke about the acting awards (here) and the following posts looked at the creative awards with the first batch here and the second lot here.

In this post, I will discuss the last batch of”creative awards”: Best Original Score, Best Song, Best Costume Design, Best Makeup and Best Production Design.

Best Original Score

This year’s win in this category was surprising, going to Ludwig Gorranson for his score for blockbuster Black Panther. Up to this point, Black Panther had been sweeping the technical categories and minor creative categories with multiple wins so this wasn’t as much of a shock on the night. However, I personally preferred Nicholas Brittell’s spectacular work for Barry Jenkins’s If Beale Street Could Talk and hoped that he would grab the win. I hope that there are many Jenkins/Brittell collaborations in the future and I am sure that he will win his Oscar one day.

Best Song

This is the one category where they may as well not have even had any other nominees. Smash it “Shallow” from A Star is Born is instantly recognisable even to those who haven’t seen the film. It is a brilliant track and definitely the highlight of the film. Personally, the film overall was a little underwhelming for my taste but this win was beyond deserving. Not to mention the undeniable chemistry between the film’s leads, Bradley Cooper (who directed the film) and Lady Gaga (who won the Oscar for her songwriting), which was one of the major talking points of the night. I think the song’s place in the film is the perfect starting point for the relationship of the two characters. I’d honestly be surprised if anyone voted otherwise just because it was pretty much a given as soon as the film was released.

Best Costume Design

Another category won by Black Panther and I can see why. One of the standout features of the film, the costumes were perfectly balanced between vibrant and muted costumes that had an eclectic mix between traditional tribal costume and a futuristic feel. I loved the hand-knitted pieces especially. Ruth E. Carter’s speech was one of my favourites of the night. I was sad that Sandy Powell didn’t win for The Favourite but the costumes in Black Panther are unique and haven’t been done before whereas I think The Favourite was enhanced by the makeup (badger) than the costumes themselves.

Best Makeup

Seeing as The Favourite was weirdly snubbed in this category, I am happy to see Vice recognised for the amazing transformation of its leading cast. The makeup allowed Christian Bale in particular to be completely lost in the role of vice president Dick Cheney. I personally enjoyed Vice a lot more than other people did so to see it win at all is welcome news.

Best Production Design

Another gong that went to Black Panther, I do think that this one should have gone to The Favourite. I understand that I am very biased to The Favourite but I do think it lost in categories that it shouldn’t have necessarily lost in. But also, these two films have great production design in their own way. Black Panther is a film that travels which gives the production team a chance to show of an array of various designs whereas The Favourite is mainly set in the one palace and is brilliantly designed to feel claustrophobic despite being an enormous estate.

That’s it for the creative awards. My next Oscars roundup will look at the technical awards.

What do you think of the winners? Do you agree with my thoughts? Let me know in the comments below!

Categories
Uncategorised

91st Academy Awards – Creative Awards (Part 2)

Continuing my roundup of this year’s Oscars, I will be discussing more of the Creative awards handed out on Sunday night. In my first blog I spoke about the acting awards (here) and the following posts looked at the creative awards (here). The array of topics from the winners and nominees show just how varied this year has been internationally. Without further ado, here’s my take on Best Animated Short, Best Live Action Short, Best Short Documentary, Best Documentary, Best Animated Feature and Best Foreign Film.

Best Animated Short Film

It was obvious that this gong would go to Pixar short Bao. The first Pixar short created by women, it tells the story of a mother-son relationship between a woman and a dumpling. It is a beautiful metaphor that shows the ups and downs of family life as Bao grows up and eventually starts to make questionable life choices. This film wasn’t for everyone and it’s understandable why but I loved it and thought it was a very touching and maternal piece of work. It brought something new to the table at Pixar, whose repertoire as of late has consisted of sequels and prequels and showed why audiences fell in love with it in the first place by injecting the passion and originality voiced by the animators and artists who work there.

Best Live Action Short

The winner of this award was Skin, a story of modern day racism in American which follows a Neo-Nazi who is kidnapped by a group of African Americans after organising a racial attack of his own and he is then tattooed completely black. The win in this category shows the importance to tell stories about the racial divide that still exists today.

Best Short Documentary

Nothing felt better for my feminist heart than seeing a crowd of women fill the stage to accept an Oscar for a film about menstruation. Period. End of Sentence explores women living in India whose education had been cut short due to their periods due to a lack of access to sanitary pads. A group of women team up and begin to manufacture sanitary pads so young girls and women can go to school and worship at temples. It is a brilliant insight into global inequality and puts to rest the patriarchal belief that gender equality exists. It also opens the gate for non-white female filmmakers to talk about subjects that are considered taboo in the same vein as Pakistani filmmaker, Sharmeen Obaid whose film, A Girl in the River: The Price of Forgiveness that explores the so-called honour killings in her home country previously won an Oscar in the same category three years ago. The bravery that these women have to exploit these issues shows how powerful the medium of film is in communicating these topics to a society that tends to cover it’s ears to the problem.

Best Documentary

Free Solo follows rock climber Alex Honnold as he attempts to free climb El Capitan in Yosemite National Park. The filming itself proved to be a challenge as the production team had to ensure that Honnold was in no way hindered by bulky microphones or other film equipment. To do this they had a sound technician who knew how to rock climb and climbed alongside him. This is shows real innovation in filmmaking and brings a unique angle on this story rather than just having cameras at the top and bottom of the mountain.

Best Animated Feature

This year saw a welcome departure from the usual Disney win with Spider-Man: Into the Spider-Verse winning the gong. It proved to be hugely popular mainly due to its inclusiveness in narrative as well as the animation itself which differs from the usual large-eyed computer animation that we have become accustomed to. This year also saw Wes Anderson’s return to animation with Isle of Dogs which was absolutely brilliant. Although not as strong as Fantastic Mr. Fox, Isle of Dogs gave the most star-studded cast from any of this year’s films and injected it into a tale about the love between a young boy and his dog.

Best Foreign Film

This category was one of the big competitions of the night. The pundits rightly put their money on Mexico’s entry, Roma, but it would be wrong to ignore the ferociously strong competition from Poland’s Cold War and Japan’s Palme d’Or winning Shoplifters. This year was a tremendous year for international film and I think Roma’s popularity specifically proves that mainstream audiences want to see non-English language films. There’s been a lot of debate on whether Roma should even qualify for awards season given that it is a Netflix film but I personally feel that using streaming it on Netflix means that millions of people will have a chance to watch a film that they may not ordinarily watch. I do think this debate played apart to its loss in the Best Picture race as I feel that the Academy may have felt that the Best Foreign Film win would suffice; however, there is no doubt that Roma was one of the most discussed films of the year and it won’t easily be forgotten.

That’s it for my second Creative awards roundup. My next post will look at the last batch of Creative awards: best song, best score, best costume design, best makeup and best Production design.

What do you think of the winners? Do you agree? Let me know in the comments below!

Categories
Uncategorised

91st Academy Awards – Acting Awards

So Sunday night was the 91st Academy Awards and as usual, I stayed up for them so suffice to say I am still recovering!

The night was full of expected wins (here’s looking at you “Shallow”) and even more surprises. Given that there is a lot of debate regarding the awards (particularly the Best Picture winner Green Book), I thought I would give my opinion on some of the awards. In this post, I will be discussing the acting awards.

Best Supporting Actress
By this point in awards season, it appeared to be Regina King’s Oscar to lose and she didn’t disappoint, claiming the Best Supporting Actress gong for her nuanced turn in Barry Jenkins’s brilliant adaptation of James Baldwin’s If Beale Street Could Talk. It was a performance that allowed King to shine as the matriarch who is determined to fight for justice for her daughter’s partner in jail. It was nice to see this film recognised because it was wrongly snubbed in major categories including Best Picture which had rightly caused a furore on social media.

This category was full of strong competition, particularly from Rachel Weisz’s incredible performance as Lady Sarah in The Favourite. She had won the BAFTA a couple of weeks ago and personally, she would have been my first choice for the award. That being said, it is wonderful seeing King being recognised in film after a long absence from the big screen.

Best Supporting Actor
Much like King, this was Mahershala Ali’s for the taking. Having won the same award two years ago for his stellar turn in Barry Jenkins’s Moonlight, his acting talents are still very much fresh in Hollywood’s mind and he continued his winning streak as the genius Dr Shirley in feel-good piece Green Book. Admittedly, I didn’t really get on with this film as a whole (I will explain more later) but the performance Mahershala gives cannot be ignored nor his win argued. He is brilliant playing the pianist touring the deep south chauffered by Tony, a white New York Italian security guard who proves to be Dr Shirley’s polar opposite performed brilliantly by Viggo Mortensen. Ali brings such an elegance and grace to his performance showcasing the struggle of Dr Shirley.
Having swept every supporting actor award, this was one of the expected wins; however, I can’t not mention Richard E. Grant who has been charming the globe with his enthusiasm this season and bringing a much needed injection of joy that the film industry needs during the politically turbulent backdrop. That being said, Mahershala was my choice to win and he has continued to cement his status as one of the greats.

Best Leading Actor
Like the two previous awards, this gong also had a clear frontrunner in the form of Rami Malek for his performance of Freddie Mercury in the audience favourite Bohemian Rhapsody. I have been a fan of Rami’s since his supporting turn in The Master and knew it was only a matter of time before he achieved even more success which came from his appearances on TV in Mr Robot. His performance as Freddie was clearly no easy feat as the film had a very troubled production due to allegations against director Bryan Singer. I have to be honest, I wasn’t a fan of the film as a whole. I wish I loved it because I am a huge fan of Queen and Malek but the script was poor and pacing was all over the place. I do believe that it is Malek’s performance that carries the whole film and the charisma that made it so enjoyable for audiences.

I do think that while this performance was a huge hit with critics and audiences, there were other performances in the same category that I feel were more deserving. I also feel that we’re going to see Malek in even better roles in the future. Personally, my vote would have gone to Bradley Cooper for his performance as fading country star Jackson Maine in his directorial debut, A Star is Born. Not only is it his best performance to date, it is a turn that proves how timeless the film’s plot is while discussing current themes in the 21st century.

Best Leading Actress
My favourite category of the night (pun intended). The best surprise of the night saw Olivia Colman win for her portrayal of Queen Anne in Yorgos Lanthimos’ phenomenal The Favourite. I can’t even begin to explain how much I enjoyed this film. It was flawless in every way from the script to the make-up and of course, the cast particularly the three leading ladies (Olivia Colman, Rachel Weisz and Emma Stone). Olivia was my pick for the gong the whole way through awards season. As much as I love Glenn Close, I felt that giving her the award would be more of a celebration of her entire career rather than her performance in The Wife specifically. Of course, Close doesn’t ever put a foot wrong, there’s a reason why she has led such a successful career but this felt that it was more about her previous Oscar losses in the past. What was even better was Colman’s reaction and speech. She was clearly just as shocked as everyone else at her win but she showed exactly why she has captured everyone’s heart. It’s so wonderful to think that “Sophie from Peep Show” has become a Hollywood Leading Lady.

Now as I said, Colman was my choice for this award. She is flawless in every role she takes whether it is a small British sitcom or a big Hollywood film. She brings a nuanced humour that also has a depth to it and makes even the smallest character three dimensional. I am so excited to see what she does next. I am also certain that Glenn’s big Oscar moment will come eventually and it will be for a performance as memorable as Fatal Attraction. I also feel like I should give a shout-out to Melissa McCarthy’s career defining turn in Can You Ever Forgive Me? which showcased McCarthy’s range and allowed her to break out of the comedic trope that she is known for.

That’s it for my acting awards roundup. What did you think of the acting award winners? Let me know in the comments below!

My next blog will look at the original and adapted screenplays, director and Best Picture awards.