OSCAR WATCH: Leave No Trace

We've often been taught that our basic needs are food, water, clothing and shelter. But modern society often takes a step further, dictating the acceptable forms of food and the notion of a proper home. Those who live outside these norms of "civilized" society are often shunned, much like the father-daughter protagonists of "Leave No Trace", which sees Debra Granik returning to the survivalist themes of "Winter's Bone" to deliver another moving Oscar contender for Best Picture.

Indeed, Tom and her father Will hardly fit the common ideal of an American household. While they occasionally visit the city to gather supplies, they spend most of their time as squatters in a public park in Oregon. Having long settled into their way of life in the woods, they have found happiness, with no desire to move. But one day, their secret existence is revealed to the authorities, forcing them to leave their home forever. Soon, they are put into the care of social services and given a traditional home. Knowing that their lives will never be the same, they try to settle into their new environment. But as time goes by, father and daughter have divergent views as to whether this change is for the better.

In the spirit of full disclosure, I must admit that I tend to preemptively balk at these kinds of narratives about people who choose to rough it in the wilderness. With my academic background in environmental studies, I understand the environmental benefits and I've met numerous fine people who aspire to some version of this way of life. Yet I still involuntarily roll my eyes at people who reject the basic conveniences designed to keep us safe and improve our lives.

Thankfully, "Leave No Trace" quickly relieved me of my skepticism, thanks to the honesty that Granik and co-writer Anne Rosellini bring to the direction and screenplay. Whereas films like "Captain Fantastic" expressed a condescending viewpoint of primitive lifestyles as being more respectable, "Leave No Trace" gives a much more nuanced portrayal. Instead of sanctimonious monologues about the virtues of simple living, Granik explores this outlook through the beautiful relationship between a troubled widower and his daughter.

Having previously depended on each other to survive, a fascinating conflict arises through Tom's coming of age following the upheaval of their lives. Expressed with a tender-hearted spirit by Thomasin McKenzie, Tom's curiosity brings forth poignant revelations about this seemingly unbreakable father-daughter bond. Meanwhile, Ben Foster brings depth to a character who plays it close to the chest. Though the film doesn't fully get to the bottom of his pain, it's all there in Foster's wounded, careful performance. And through his character, the film is touchingly honest in acknowledging that some traumas can't be overcome. He may not verbally express it like Casey Affleck's devastating "I can't beat it" in "Manchester by the Sea", but no words are needed when there's a shot as plaintive and eloquent as the one which ends this gracefully crafted film.

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OSCAR WATCH: Black Panther

When Ryan Coogler's "Black Panther" released on February 16 this year, few could have predicted the cultural juggernaut it would become. 7 months later, it still sits comfortably atop the year's box office and critics' charts, a position it will likely hold for the rest of 2018. With this level of success, it's unsurprising that the blockbuster became embroiled in a debate over the validity of the Academy's hastily announced new category for Best Popular Film. Thankfully, that ill-advised idea was subsequently scrapped, allowing Disney to refocus its awards campaign strategy to once again take aim at the Best Picture race. Of course, the ongoing fall festival circuit is providing many other alternatives. Therefore, I felt it would be an appropriate to reassess the film's merits.

"Black Panther" takes place in the fictional African nation of Wakanda, a prosperous nation untainted by the colonial exploitation. Thanks to an omnipotent mineral called vibranium, its people have experienced considerable wealth and technical advancements which have allowed them to stay hidden from the rest of the world. Sustaining that level of independence and affluence is the primary concern of its heir apparent T'Challa, destined to ascend the throne following the untimely death of his father. But Wakanda's secret is under serious threat, as outsiders plot to harness the vibranium for nefarious means. With his nation under attack, T'Challa must call upon his allies and his own powers - obtained by a heart-shaped herb - to defeat these infiltrators and protect his people.

T'Challa's story has been a long time coming, as one of the newest members of the wildly popular superhero team called the Avengers to make the big screen. And to our relief, the resulting film was worth the wait. Delivering action-packed entertainment with a potent undercurrent of black power and struggle, "Black Panther" elevated the Marvel Cinematic Universe to new heights of sociocultural relevance.

Indeed, the film's "blackness" plays a large role in the film's success. Directed by Ryan Coogler in only his third outing as a director, the film is the rare Marvel film that feels driven by a distinct voice. Blending the poignant social commentary of his debut "Fruitvale Station" with the big-budget showmanship of "Creed", this film is the natural progression for his ascendant filmography. Like both of those films, "Black Panther" puts black faces front and center, showcasing both their inherited trauma and resilient glory.

What makes "Black Panther" so special is the way it addresses a topic rarely explored in cinema before. Namely, the diasporic tensions between Africans and African-Americans. In that regard, the film introduces a compelling villain in the form of Erik Killomger (played with dangerous swagger by Coogler's muse Michael B. Jordan). His resentment of Wakanda's self-serving apathy towards the struggle of their African diaspora makes him an empathetic figure, despite his bloodthirsty mentality.

While Killmonger's morally complex philosophy and intense conviction may garner Oscar attention for Best Adapted Screenplay and Best Supporting Actor, it is actually this aspect that forms the source of my only critique against the film. Understandably, the film ultimately plays it safe in putting Killmonger's revolutionary plan in motion. As such, it left me wishing Marvel had taken a bolder narrative risk, which they actually did in Avengers Infinity War two months later.

Nevertheless, Coogler more than makes up for it with the exhilarating spectacle of the filmmaking, so richly infused with the aforementioned elements of "blackness". From the thumping hip-hop beats of the soundtrack, to the real-word parralels of its Pan-African plot, to the dazzling production design and costumes, the meticulous world-building is truly a sight to behold. And for pure thrills, its Busan-set action setpiece is easily one of the most impressive of the year. Oscar nods for Best Director, Best Costume Design, Best Makeup & Hairstyling, Best Production Design, Best Sound Editing and Best Sound Mixing would be well deserved.

As the long awards season progresses, it's quite possible that Academy voters may ultimately dismiss "Black Panther" as just another Marvel movie. But if you place close attention, you'll realize that the film stands out on its own, offering a complete story that challenges as much as it entertains. Maybe the superhero glut at the cinemas isn't so bad after all.

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OSCAR WATCH: BlacKkKlansman

Three decades ago, we watched as Mookie threw a trash can through the window of Sal's Pizzeria in "Do the Right Thing". It was Spike Lee's 3rd feature film and it became one of the most talked about and defining moments in the film and in some regards, Lee's career as a whole. Many years later, audiences are still split as to whether, to use the film's own title, Mookie did the right thing. But whichever side you landed on, this scene of heightened racial tensions established Lee as a filmmaker unafraid to confront the unsavory legacy of America's checkered past.

Fast forward to 2018 and I couldn't help but think of "Do the Right Thing" as another character breaks a window in his latest film "BlacKkKlansman". In this scene, the men involved are a black detective named Ron Stallworth and his Jewish partner Flip Zimmerman, who is being interrogated by a vehemently racist member of the Ku Klux Klan. The detectives are working undercover on a daring mission to infiltrate the KKK, with Stallworth impersonating a white-sounding man over the phone, who is presented as Zimmerman in the field. With their true identities under threat of being revealed, the scene sees Stallworth breaking a window to dissipate the tension. But this won't be the only nerve-wracking moment in the film, as the men put their lives in danger in a race against the clock to stop the KKK's next terrorist attack.

The inherent miracle of the story and the protagonists' bravery are indeed what makes "BlacKkKlansman" compelling. The script - a surefire Oscar contender for Best Adapted Screenplay - effectively balances some anxiety-inducing close calls with frequent humorous scenes inspired by the sheer audacity of the mission and the narrow-minded psychology of the antagonists. As such, it functions as both an amusing satire and a stirring period piece (with all the cool threads and afros to match).

Dealing with such sensitive subject matter as the notoriously evil KKK is a risky gamble and admittedly, Lee does falter with a few excessively comic moments. Thankfully, John David Washington's confident performance always keeps the film afloat. Displaying much of his father Denzel's charisma, he could potentially follow in his footsteps as an Oscar nominee for Best Actor. Furthermore, Adam Driver should be in the discussion for Best Supporting Actor, as his character adds thought-provoking dimensions to the film. His reckoning with this Jewish identity is one of the film's highlights.

Overall, "BlacKkKlansman" represents one of Lee's most restrained directorial efforts. But that's not to say that he's getting soft with age. Indeed, his confrontational voice is unmistakable in the film's prologue and conclusion. The former shows Alec Baldwin spewing propagandist hate speech as a character clearly intended as a parody of Donald Trump. Meanwhile, the closing moments are true masterstroke that will likely seal long overdue Oscar nominations for Best Director and Best Picture.Using sobering real-life footage of the present-day KKK to hit home the film's themes, it proves that Spike Lee remains one of the most essential voices in cinema, sticking it to the man like only he can.

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REVIEW: Hereditary

If there's one movie this year that will have you turning to God in prayer, it won't be a faith-based movie like " but rather Ari
Aster's extraordinarily creepy "Hereditary". With one of the most striking debuts in recent memory, Aster proves to be a new mastermind of the horror genre. Scaring audiences through both supernatural and worldly terrors, it's a film that won't leave your mind any time soon.

"Hereditary" tells the story of a deeply troubled family, made up of a teen son, his younger sister and their parents. At the beginning of the film, the family has just buried the grandmother, a woman who passed on her internalized trauma to her daughter Annie. As the new matriarch of the family, Annie (played by Toni Collette) tries to keep the family strong through this latest tragedy. But forces from within and without threaten to break their already tenuous family bond forever.

When "Hereditary" was released earlier this summer, audiences didn't quite know what to make of it. Despite strong reviews from critics, the film scored a paltry D+ CinemaScore, indicating general audience dissatisfaction. I was therefore genuinely surprised when I finally watched the film and found it to be one of the most effectively terrifying horror films I've ever seen.

Though the marketing promised a standard issue haunting/possession narrative, Aster arrives at that place from a more indirect angle. He brilliantly incorporates the idea of metaphorical inner demons with literal ones and then unleashes them all on this vulnerable family, wreaking havoc on their lives.

Indeed, one early therapy scene is quite telling, as Annie explains the mixed emotions she feels after the death of her estranged mother. Harboring inexplicable guilt and blame for all her misfortunes, it's hardly surprising when we realize the brittle tensions within the intra-family relationships. That underlying malice within the family is viscerally felt, thanks to some go-for-broke, raw performances from the cast.

At the center of it all is Toni Collette, who all but turns herself inside out for her role. As her character endures unimaginable tragedy and inescapable anguish, she is a whirlwind that stirs up her co-stars and brings out the best in them. Most notably, the scenes she shares with Alex Wolff are absolutely searing as they unravel this fraught mother-son relationship.

Even if it didn't have the traditional horror elements of disturbing images and creepy sounds - and contrary to popular belief, this film has more than enough of them - the film's central conceit of the effects of damaged families would be haunting on its own. Indeed, if you can't feel safe around your own family, then where do you run to? I can hardly think of anything more traumatizing.

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COMING SOON: The Oscar Contenders

In case you weren't aware, the first phase of awards season is upon us, as the Venice and Telluride Film Festival are in full swing. Indeed, this is the most exciting time of year for any discerning cinephile, as some of the most anticipated films of the year will be premiering at various high-profile festivals. And already, various hot titles like "A Star Is Born" and "The Favourite" are positioning themselves as major Oscar contenders, with many more on the way. Of course, a lot can still happen between now and Oscar night. But for now, hope springs eternal as we await the rest of the year in "prestige" cinema. With that being said, here's a first look at some of the films garnering early Oscar buzz:

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OSCAR WATCH: First Reformed

Although he has directed as many films as he has written, Paul Schrader is more widely known as the screenwriter behind some of Martin Scorcese's greatest films. Most notably, he penned the script for "Taxi Driver", starring an unforgettable Robert De Niro as a disillusioned war veteran. The misanthropy which fueled that character echoes 40 years later in Schrader's latest effort "First Reformed", which sees him doing double duty as writer-director to craft a film that is chillingly relevant to modern society.

While De Niro's Travis Bickle was a taxi driver in the gritty streets of 1970s New York City, the protagonist of "First Reformed" is a priest named Reverend Toller, who is in charge of a historic church further upstate. Played by Ethan Hawke, he is a man tormented by the crises affecting both him and others in the past, present and future. One day, his faith is put the ultimate test upon meeting a couple experiencing difficulties due to the husband's severe depression. As this man slips into crippling despair over mankind's destruction of the earth, Reverend Toller realizes that piety may not provide the answers, causing Toller to question his and the church's purpose in the world.

Bearing the weight of the world on his shoulders, Ethan Hawke is well cast in the lead role. While his furrowed brow conveys his internal anguish, his youthful persona serves him well as the character becomes increasingly agitated. Pitched somewhere between grumpy old man and furious activist, it will surely be remembered as one of Hawke's finest hours.

Indeed, Hawke is the anchor of this heavy film which sees Schrader ultimately taking aim at one of the most unspoken, yet critical issues of our time. Namely, what is Christianity's role in environmental protection or lack thereof? Evidently, Schrader takes a cynical view to this answer, starkly showing how capitalism and Christianity are often unholy bedfellows. The influence of both is omnipresent through various perspectives in the narrative, whether it be the aforementioned wife's ingrained religious belief (excellently portrayed by Amanda Seyfried) or the self-serving authority of Cedric the Entertainer as the leader of a megachurch. As the film gradually reinforces the pervading sense of apathy towards the earth, one can't help but empathize with our protagonist's plight.

With an exacting stillness and pallid visual scheme, Schrader's tone is unwaveringly morose. But ultimately, the film leaves a powerful impact that may even strike up Oscar talk for Best Picture and Best Screenplay. Whether you're religious or not, it will have you pondering its central concern - Can God Forgive Us?

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Top 10 Spike Lee Joints

On August 10, “BlacKkKlansman” will be released in theaters nationwide, marking the 38th feature film in the storied filmography of Spike Lee. As one of the pioneering figures of the 1980s independent film movement, Lee’s career has made him one of the most influential black filmmakers of all time. And with the release of his latest, early reviews prove that he hasn’t lost his flair for the politically-charged, provocative work that captivates audiences everywhere.

Read more at The Awards Circuit

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10 Best Debut Films by Directors of Color Since 2008

Ask any director and they’ll tell you that getting your first feature funded and completed is no easy task. And when you’re a director of color, it’s even more daunting. Indeed, it’s no secret that white directors are often afforded greater opportunities to further their careers following their debut features. But for filmmakers of color, there’s the likelihood that their first film could be their last.

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REVIEW: The Cakemaker

From poisoned apples in fairytales to raunchy kinks in adult-oriented fare, food has long served as a plot device throughout film history. That tradition continues with “The Cakemaker,” a cross-cultural drama directed by Ophir Raul Graizer. In this delicate drama, the power of food creates an unlikely love triangle that transcends borders.

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REVIEW: Believer

If you thought Hollywood had the cornered the market on seemingly unnecessary remakes, think again. Back in 2012, Hong Kong director Johnnie To’s “Drug War” opened to critical acclaim, strong box office, and eventual awards recognition. Hoping to repeat that success, Lee Hae-young brings his take on that story with “Believer“. As with any remake, there’s an inevitable element of familiarity. But this gripping tale of crime also forges its unique identity, adapting a proven formula to deliver heart-pounding entertainment.

Read more at The Awards Circuit

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