OSCAR WATCH: 1917

With dozens of films dedicated to the subject, every announcement of a WWI comes with a feeling of "been there, done that." But in the ambitious hands of director Sam Mendes, the "war to end all wars" gets a new perspective. Filmed to convey one single take, "1917" is a mind boggling cinematic achievement. But at what cost?

The premise of "1917" is relatively simple. Two British soldiers are tasked with delivering a message to a distant battalion, in the hopes of calling off an attack after intelligence indicates that a deadly trap has orchestrated by the rival Germans. The rescue mission will thus take them through dangerous enemy territory, with very artillery support. But though it seems impossible, the men are driven by an additional motivation, as a brother is among the endangered battalion they hope to save before it's too late.

As our protagonists proceed on their harrowing journey, "1917" is an impressive showcase of filmmaking techniques. Most obviously, the cinematography amplifies the stakes, giving the illusion of real time action. But while the camerawork is the star, it would be ineffective without exceptional work from the actors, composer, production designer and editor. Indeed, George Mackay and Dean-Charles Chapman are unwavering in their physicality demanding lead roles. The stirring music is deployed judiciously and impactfully. The world-building of the sets are downright incredible, particularly in giving a visceral sense of the omnipresence of death through human and animal carcasses, rodents and flies. And of course, the editor deserves highest praise for making it all feel so seamless and forcing the audience to constantly wonder, "How did they do that?"

It's therefore hard to argue against the film's 10 Oscar nominations, namely Best Picture, Best Director, Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography, Best Original Score, Best Visual Effects and Best Makeup & Hairstyling. And yet, despite my admiration for the filmmaking, I rarely felt truly emotionally connected to the story and the soldiers' plight. Even in the intentionality sentimental moments, the "obstacle course" style of the storytelling hardly gave room for the film to contemplate the characters' humanity. In the end, I was reminded of Martin Scorcese's criticisms of Marvel movies as theme parks. Despite the technical mastery on display, "1917" lacks the gravitas to be a truly great war film. Those who fought in WWI are often referred to as "The Lost Generation." It's a shame that this tribute to their efforts falls short of making them unforgettable.

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OSCAR WATCH: The Irishman

A decade ago, the BAMcinématek curated a series called "The Late Film", a collection of late career films from established auteurs. As described in the New York Times, the term refers to work that is "both familiar and strange, characteristic of the artist and yet markedly at odds with everything that preceded it." As I watched the latest from American master Martin Scorsese, the descriptor could not feel more apt. Among Scorsese's esteemed canon of gangster films, "The Irishman" expresses familiar themes in profound and revelatory ways.

In my review from over 5 years ago, I marvelled at Scorsese's direction of "The Wolf of Wall Street", impressed by its audacity and edgy, kinetic style. It felt like the work of a younger, maverick filmmaker, proving that he was still a vital voice in the contemporary film scene. Four films later, I am stunned once again by "The Irishman", which sees Scorsese reuniting with many of his most famous collaborators. This epic surrounds Robert DeNiro's titular character Frank Sheeran, as he reflects on a life of mob-related crime. From his younger years as a truck driver, to his subsequent rise up the ranks of the Buffalino crime family, his story is one of violence, greed and power. But in his dying days, the events of his life weigh heavily on him.

With this premise and the recognizable director and cast – including Al Pacino and Joe Pesci in supporting roles – you'd be forgiven for thinking this is just another Scorsese gangster flick. But "The Irishman" deepens the genre through a directorial approach that is more subdued and graceful. It feels in direct conversation with the aforementioned "Wolf of Wall Street", as well as the other iconic gangster narratives that came before for it. Indeed, while "Wolf of Wall Street" was accused of glorifying the debauchery of its immoral men, "The Irishman" is never gratuitous, filled instead with an undercurrent of regret. Though violence are central its themes, the film is more concerned with the impact rather than the act.

One particular scene stands out, where Al Pacino's Jimmy Hoffa, desperate to reclaim leadership of the mob-controlled union remarks to Sheeran that "They do something to me, I do something to them. That's all I know. Nothing else." Epitomizing the endless cycles of violence and revenge (also emphasized through frequent pop-up subtitles about various characters' future demises) it achieves a rare emotion for audiences in a gangster film – pity. And as the decades-long narrative of "The Irishman" plays out, this sentiment only deepens as the bodies pile up and families and friendships are irreparably broken.

The result is an uncommonly calm and contemplative gangster film from Scorsese, with the screenplay's themes amplified by impeccable acting - particularly the soulfully captivating DeNiro and the chillingly unflappable Pesci - and Scorsese's usual attention to detail. Oscar nominations are definitely on the table in the categories of Best Director, Best Actor, Best Supporting Actor, Best Adapted Screenplay, Best Editing, Best Makeup & Hairstyling, Best Production Design and Best Picture. Admittedly, it's still not my favorite of the year, but I wouldn't begrudge any of these wins. It's truly exciting to see Scorsese continue to be so inspired and invigorated (this year he also directed the impressive documentary "Rolling Thunder Revue: A Bob Dylan Story"). Unlike Frank Sheeran's life story, this film may be a late work, but it's far from a swansong.

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REVIEW: Avengers: Endgame

As I sat in the movie theater for "Avengers: Endgame", a initial feeling of dread came over me. The trailers - "Aladdin", "Godzilla: King of the Monsters" and "Spider-Man: Far from Home" - shown before the film were a sad reminder of the state of popular cinema in 2019, with nary an original concept in sight. To make matters worse, the two prior installments of "The Avengers" had left me wanting. As such, I feared the worst for what would surely be an overblown piece of fan service.

After the subsequent 3 hours of this epic conclusion to the Marvel Cinematic Universe's "Infinity Saga", however, I admittedly felt guilt for my prejudice. Alleviating all of my fears, I was thoroughly satisfied with the accomplished filmmaking on display. Taking place in the apocalyptic aftermath of the "Infinity War", this film brings a level of humanity and humility rarely seen before in the MCU.

Reduced to vulnerable human beings in the wake of the cataclysmic events caused by supervillian Thanos, the remaining Avengers are desperate to reverse the course of history. Some years later, an unexpected solution arises when Ant-Man emerges from the quantum realm. Based on his experiences in this alternate universe, the Avengers devise a time-travelling master plan so crazy that it could spell either further destruction or salvation.

With a decidedly downbeat first hour, "Endgame" quickly lets audiences know that they are in for an ambitious story arc. Indeed, the stakes have never been higher, as the Avengers seem to have come to terms with their failure. The costumes and superpowers are largely absent and in their place are human beings mourning the friends and families they've lost.

Due to this rare moment of vulnerability, these characters who we've come to know and love reveal their true selves. And through this, the film allows the actors to shine by subverting their trademark personas. As the leaders with conflicting worldviews, Robert Downey Jr. and Chris Evans bring new shades to Iron Man and Captain America. The former's cocky sarcasm is now tempered by a sense of despair and melancholy. And the latter displays a jaded cynicism that starkly contrasts his usual optimism. But perhaps the most eye-opening performance comes from Chris Hemsworth, portraying Thor as a man whose unwavering confidence has finally been shattered. In addition to his much talked about physical transformation, there's an everyman humility that showcases Hemsworth's comic talents to great effect. In my opinion, he's never been better.

Of course, while we bear witness to the fragility of their heroes, they must inevitably rise to the occasion. And as the script sets things in motion for the final showdown, the film kicks into high gear in ways that only a mega-budget blockbuster can deliver. Indeed, we can see the money on the screen, with dazzling visual effects and elaborate production design.

Marvel Studios president Kevin Feige has long claimed that each film in the Marvel Cinematic Universe is conceived as a particular genre film. Whether it's the intergalactic space adventures of "Guardians of the Galaxy" or the espionage thriller underpinnings of "Captain America: The Winter Soldier", they are crafted with a keen understanding of the associated tropes. Unsurprisingly, this has paid dividends through the enthusiastic responses from cinephiles everywhere.

Admittedly, when these characters come together as The Avengers, the filmmakers sometimes struggled to craft a coherent vision. But that is not the case here. "Avengers: Endgame" shows a remarkable synergy between the heist, space exploration and character drama elements. And ultimately, it culminates in a sublime coda that speaks to the power of love and the precious gift of life. After more than a decade of making us want to be superheroes, "Avengers: Endgame" shows us the strength and beauty of being human.

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