Awards season has begun once again and with such a turbulent year that has seen cinemas reopening and more studios utilising streaming services, there are an abundance of films that are competing for those big awards. What is wonderful to see about the offerings from 2021 is how well received films directed by women were with Julia Ducournau winning the Palme d’Or for her incredible boundary pushing film, Titane while Jane Campion has returned to feature filmmaking after a 12 year hiatus with her intricate character-led The Power of the Dog. The variety of films on offer this year prove that there is something for everyone which ensures that this awards season is going to be great.
As ever, I will be gathering all of the reviews for the films that will be competing for awards from best special effects to best picture and everything in between.
Here is the list of films to guide you through awards season 2022:
Disney has been on a roll this year and Encanto marks their third animated release (including Pixar) following Raya and the Last Dragon and Luca. Following the traditional format of the animated musical, Encanto is set in a small village in Colombia and follows the magical Madrigal family where each member has a unique gift that helps the community to flourish thanks to an enchanted candle that was gifted to the matriarch except for protagonist Mirabel who was not granted any powers and is often underestimated or seen as a nuisance and burden, especially by the matriarch, her Abuela Alma. What follows is Mirabel trying to solve the mystery of her family’s powers and why she wasn’t granted a power in the hopes that she can eventually unlock her gift. The result is a film that boasts exceptional animation filled with eye-catching colours and a world full of imagination and magic that would make audiences of all ages captivated by the wonder and beautiful storytelling.
As with most Disney animations, Encanto is a collaboration when it comes to the direction and writing as it is directed by Jared Bush and Byron Howard and written by Bush and Charise Castro Smith. What Encanto does so well is subvert stereotypes and challenge expectations and perceptions. Mirabel’s sisters are a great example of this as the strong and muscular Luisa is able to show her sensitive side while Isabela is known for her beauty and perfection but she wants to feel free and unrestricted. Mirabel’s position as an outsider works well as we are able to observe these characters at a distance and witness their growth while simultaneously seeing Mirabel develop and forge her own identity. One of the major themes in the film is finding a place to belong from Abuela Alma’s struggles as she is forced to flee her home and building a community from the ground up to Mirabel’s desire to find out where she truly belongs. The brilliance of the events in Encanto is that we don’t leave the area unlike other films such as Moana where the titular character has to venture overseas to solve the mystery, Mirabel has everything she needs within the home and her family but simply has to put these pieces together. This doesn’t make the film suffer and allows for great pacing that means we see the supporting characters more than other Disney films.
The protagonist of the film is Mirabel who is voiced by Stephanie Beatriz who is known for playing Rosa Diaz on TV show Brooklyn Nine-Nine. Diaz’s performance is fantastic and following her turn as Carla in this year’s In the Heights (with music also provided by Lin-Manuel Miranda), she is able to add her singing talents to Encanto as well as her quirky humour while also delving into the dramatic elements of the plot. Mirabel’s struggles from having no power and the way that her family view her as a hindrance. What makes Mirabel such an effective protagonist is the realism in terms of her mannerisms and attitude. She isn’t portrayed as someone who is perfect and right all the time but a flawed young woman who makes mistakes and has a good heart. Her good intentions don’t always generate good results but this doesn’t mean that she is unlikeable and makes her more relatable than a lot of animated Disney protagonists.
The songs in the film are provided by Lin-Manuel Miranda who has developed a close relationship with Disney in recent years. As expected, the songs perfectly capture the setting and emotions of the characters while incorporating signature Miranda elements such as mixing genres and singing styles to create a soundtrack that is distinguishable and unique. There are many brilliant songs on the album from the opening introduction “The Family Madrigal” to the slow and dramatic “We Don’t Talk About Bruno” and songs that are completely sung in Spanish with no subtitles which heightens the authenticity of the Colombian setting. Miranda’s soundtrack for Moana was undoubtedly a hit but with Encanto, he has proven his ability to write for film that differs in context and setting with ease without sacrificing his own artistic license.
In a year that has seen Disney release several animated films, Encanto comes out top as the most original, vibrant and creative of the three thanks to the memorable characters, stunning animation and incredible soundtrack. Not only does it capture the Colombian setting and culture fantastically, it does so in a way that is captivating thanks to the writing and development of Mirabel as a great protagonist.
What did you think of Encanto? Let me know in the comments below!
Tick, Tick… Boom! is one of many film adaptations inspired by musicals and this one sheds light on the creative process and its struggles of the musical’s writer and subject, Jonathan Larson (Andrew Garfield). Larson was known for writing the musical Rent which is one of the most popular and loved by people across the world. What people may not know is how Larson struggled to make it big in the musical theatre world which is what Tick, Tick… Boom! explores. The musical follows Larson who is trying to get his new musical approved and funded by respected members in the Broadway community including figures like Stephen Sondheim (Bradley Whitford). The musical in itself is brilliant and acts as a fantastic tribute to the world of musical theatre and the people who helped build it to what it is now.
When deciding to adapt the musical, it seems only natural that Netflix would choose someone who is just as prolific in the musical theatre world and who else to choose than the incredibly talented Lin-Manuel Miranda. The mind behind In the Heights and Hamilton and songwriter for Moana and Encanto, Tick, Tick… Boom! marks Miranda’s directorial debut and he delivers, marking his talent behind the camera with a stunning debut. Miranda’s passion for the musical and its subject is evident and it comes across in how he captures Larson’s perspective of the world and the magic and imagination of musical theatre with contrasts of the reality that Larson is living as he struggles to afford his rent and bills and is losing friends to HIV and AIDS amidst the epidemic. Miranda transports us to early 1990s New York and combines the original musical format that sees Larson and his costars perform onstage and recite the stories in a traditional setting with stagings of the events to keep it equally gripping.
There is no doubt that this film belongs to Andrew Garfield who is captivating and perfect for the role of Larson. Arguably Garfield’s career best performance and one that is sure to bring him a lot of attention this award’s season, his portrayal of Larson feels well-rounded and fully realised. He doesn’t always make the smart choices but his intentions are pure as his passion for music and musical theatre thwarts his love for everything else and we get to see the rewards and consequences of this. We feel the elation as Larson gets closer to achieving his goals such as his promising interactions with Stephen Sondheim while also witnessing the losses and downfalls as he comes to terms with the deaths of his friends with scenes such as his emotional encounter with best friend Michael (Robin de Jesús) who has recently discovered that he is HIV-positive. Garfield is magnetic from the first shot to the last and makes use of every scene in between. Not only does he pull off the performance fantastically but his singing voice is brilliant as well which makes it a great watch.
Alexandra Shipp plays Jonathan’s girlfriend, Susan, who is a dancer looking for a stable job following an injury that has put a spanner in her career. It is clear that Susan loves Jonathan and appreciates his talent but when Jonathan begins to neglect Susan and disregard her needs and the decision regarding her offer to teach full-time which would result moving out of state. Where Garfield’s performance sees Jonathan’s head in the clouds, Shipp’s performance weighs him back down to reality which makes their pairing a perfect match. The scene in which Jonathan imagines Susan singing “Come to Your Senses” and Shipp’s performance perfectly conveys the pain that her character feels as she had no choice but to follow her path despite her love for Jonathan.
There are plenty of great supporting performances that allow Garfield to shine even more. These include Vanessa Hudgens as Jonathan’s costar and actress, Karessa, who has the role as the female protagonist in Larson’s musical, Superbia, that he is trying to get funded. Hudgens doesn’t have a lot of screentime but she makes the most of the time she does have. Her performance of “Come to Your Senses” which plays alongside Shipp’s is beautiful and although it plays up the performative aspect of the number more than Shipp’s which leans more into the emotion, it shows the ability that the song has to exist both as a tribute to Susan as a character and as a musical number.
Since the film is a musical, it is important to talk about the music. As expected with a Larson production, the musical numbers are fantastic and filled with plenty of nuance and emotion. Tick, Tick… Boom! not only includes songs about Jonathan’s perspective and struggles to write a song but there are also a couple of songs included from the musical that he is trying to complete within the film. The songs are mainly sung by Jonathan but there are plenty of numbers that incorporate other cast members. One such highlight is “Sunday” which sees Jonathan escape his job for a moment as he imagines a life where he can mingle among Broadway stars. Jonathan sings in the diner as the patrons are all Broadway stars, many who Miranda has previously worked with before such as Phillipa Soo and Renée Elise Goldsberry, and other Broadway heavyweights including Phylicia Rashad, and Bernadette Peters. Not only is this number filled with stars but the performance itself is packed full of passion as it laments on the dreaming a life that is worlds apart from the one that Jonathan leads.
In a year that has seen a lot of musical film adaptations released, Tick, Tick… Boom! does a great job of standing out from the crowd. This film marks Garfield stepping out of his usual dramatic comfort zone and shows that he can lead a musical while Miranda shows his talents as director as his vision has been perfectly realised. Miranda merges reality with fantasy as Larson’s world begins to turn and transform to the world inside his mind. With scenes like “Sunday”, this is a film that demands multiple viewings and shows Larson’s talent as a pioneering figure in musical figure and the interesting portrayal of himself including his flaws.
What did you think of Tick, Tick… Boom!? Let me know in the comments below!
Tick, Tick… Boom! is available to stream on Netflix now!
One of the biggest releases of the year so far is In the Heights. Based on the stage musical of the same name by Lin-Manuel Miranda, In the Heights follows the community of Washington Heights, a Latin dominated neighbourhood where everyone has dreams and does everything they can to achieve them. The protagonist of the film is shop owner, Usnavi, who dreams of returning to his native Dominican Republic one day and whose shop is hugely important to the community. As we explore the lives of those around him, we see the trials and tribulations that the Latin community faces against many issues including racism, increasing gentrification and basic human rights being compromised. The original stage musical first premiered in 2005 and went on Broadway in 2008, winning a slew of Tony’s and putting Lin-Manuel Miranda’s name on the map. The film is written by Quiara Alegría Hudes who also wrote the original book for the stage musical and directed by Jon M. Chu, In the Heights explores its subjects in a way that feels timeless and just as relevant today as it was back when it was first staged.
Although Hamilton may be the play that Miranda is known for among the masses, In the Heights was his first musical and was a huge success among theatre fans across the world. When listening to the music from both, it’s amazing to think that they were composed by the same man because of how different they are in style and tone. In the Heights is a celebration of Latin music, combining an array of cultural touches with contemporary US hip hop and rap. Each character has their own distinct type of song which gives the audience a sense of their personality. From Usnavi’s unpredictable raps to Nina’s lamenting ballads, each song sounds totally different from the other and yet it flows effortlessly. What is great about this film adaptation is that the songs have been rearranged and altered slightly to naturally fit in with the context of the film. A lot of musical film adaptations forget that film is an entirely different medium and it may not look static and unnatural. Due to the amount of rap and dialogue during the songs, alterations have been made to fit in properly with the medium and it makes it a more exciting watch as you don’t know what to expect. Some of the storylines had been changed as well to take away some negative events such as the looting of the store in order to give the film an overall positive vibe which allows it to work well as a feel-good summer film.
Anthony Ramos leads the film as Usnavi and has big shoes to fill (Miranda originated the role on Broadway) but does so with ease. Although we are getting a broad glimpse of life in Washington Heights, it is Usnavi’s storyline that chugs the film along so it was important to get the casting right. Ramos has more than proven himself capable having previously performed as Sonny on a previous regional tour as well as originating the role as John Laurens/Philip Hamilton in Hamilton. Ramos has a natural presence that makes his Usanvi instantly likeable. Even those who aren’t familiar with the musical will want to root for him and find out more.
In support, there is a great cast who help bring the beloved characters to life. Corey Hawkins and Olga Merediz as Benny and Abuela Claudia, respectively. Benny is Usnavi’s best friend who works in the local dispatch and is highly energetic with big dreams to become a successful businessman and someday run the dispatch himself. Hawkins brings that enthusiasm and charm needed as well as nailing the song “Benny’s Dispatch” which has a really difficult rap but he does this with ease. The friendship between Benny and Usnavi feels completely authentic and it’s clear that the actors had a great experience performing together. One of the original cast members on stage was Merediz who reprises her role as Abuela Claudia for the film. Claudia is the glue that holds the community together and her motto “Paciencia y Fe” is something that the community lives by, as well as being the name of her big number. The song follows Claudia’s life as a young girl from Cuba moving to New York with her mother and how they learned to adapt and survive in a completely different world. The sequence itself is beautifully directed and is one of the best numbers in the whole film. It is then followed by my personal favourite song, “Alabanza” which I think is one of the most beautiful songs in any musical and for the emotions of the song to come through, it relies on the influence of Claudia among the community and you’ll surely be in a lot of tears.
In the Heights is a phenomenal achievement that deserves to be shown on the big screen. Chu manages to replicate that vibrancy and spirit of the Washington Heights community and inject it with bold direction and stunning use of camerawork and colour. With a couple of Miranda related Easter eggs hidden in the film, it’s sure to be fun for theatre and film fans alike. A particular highlight is seeing Miranda play the role of Piragüero known fondly as the Piragua guy and his rivalry with the Mr. Softee Truck Driver who is played by Christopher Jackson (who originated the role of George Washington in Hamilton). Whether you are a fan of musicals or not, the story and its message are sure to resonate with you and leave an impact long after the credits have finished rolling.
What did you think about In the Heights? Let me know in the comments below!
In the Heights is available to view in cinemas now!
