Stealers Wheel

Predicted winners, who should win, and my favourites from this year's Oscars (the 90th Academy Awards). Catch up on all of the buzz before the big event.

Combining two of the most fascinating Italian genres of the 1970s, giallo and poliziotteschi (that is, thriller and crime/action), 1975's The Suspicious Death of a Minor (also known as Too Young to Die) uses more subtle strokes of violence and nudity compared to many other giallo features from the time, instead building suspense and energy by way of highly original set pieces. Directed by Sergio Martino (this is his sixth and final giallo, another example being Your Vice Is a Locked Room and Only I Have the Key), he introduces us to the picturesque yet dangerous world of Milan, circa 1975 – a place where we find a young prostitute named Marisa (Patrizia Castaldi) on the run from an unsettling figure in mirrored glasses. Attempting to meet with undercover detective, Paolo Germi (Claudio Cassinelli – the actor sadly died in a helicopter crash while filming another Martino picture – 1986's Hands of Steel), she is eliminated by the stone cold proficient assassin before being able to pass on any actionable information.

Like landing a triple axel, figuratively speaking, I, Tonya writer Steven Rogers and director Craig Gillespie (Lars and the Real Girl) conquer the difficult feat of bringing the complicated career of figure skater Tonya Harding to vivid life on the big screen. Relishing in the ‘perception of truth’, Rogers and Gillespie develop a bio-pic mockumentary style approach, each character having their own version of the story. Complex in its narrative direction, multiple persons have their say, sometimes breaking the fourth wall and talking directly to the audience – at one point, Harding (Margot Robbie – Academy Award nominee for Best Lead Actress), gun in hand, makes it quite clear that this portion of the tale never actually happened – a rebuttal to her husband, Jeff Gillooly (Sebastian Stan), and his unflattering perspective.

Good things come in threes – case in point, Martin McDonagh’s Three Billboards Outside Ebbing, Missouri. His third full length feature, it has earned him his first Best Picture nomination at the Academy Awards (expected to be one of the frontrunners this year), while the motion picture has also garnered its three main performers Best Actress/Supporting Actor nods, and, though it may be a tad of a stretch, when eliminating the four above mentioned Oscar nominations, it has also earned three other chances for the elusive statuette (for Original Score – Carter’s Burwell’s composition brimming with mysterious western melancholy; Original Screenplay; and Film Editing). Interestingly, the film could very well have had another title, “Three Letters from a Sheriff in Ebbing, Missouri” – but more on that later. Bringing to life another fascinating dark premise, McDonagh scribes a heart-wrenching tale of how human beings deal with anger, loss, hate, guilt, grief, injustice, and the seemingly cruel fate of life, yet, as always, combined with his sharp wit – a rare movie that, despite its pitch black subject matter, will have you laughing on and off throughout, much like his earlier gems, 2008's In Bruges and 2012's Seven Psychopaths.

Perhaps the end of something very special. . . that is, if Daniel Day-Lewis does follow through and retire from acting after his most recent lauded performance in Paul Thomas Anderson’s Academy Award Best Picture nominee Phantom Thread. It is this nuanced role that will bookend a career that has consisted of six deserving nominations and three well earned Oscars (four, if he wins this year). At the heart of this tale of gothic romance (Anderson’s narrative and classic visual aesthetic reminiscent of movies like Rebecca), Reynolds Woodcock (Day-Lewis) is a renowned dressmaker (circa the 1950s), a man who, like his flawlessly tailored clothing (he hides secrets in the work), expects everything to be just perfect. He is peculiar in his cleanliness and rigidity – every hair in its place, absolute quiet at breakfast (his entire day ruined if his stringent routine interrupted). . . obsessive in every which way, including in that he is still haunted by the death of his mother. An example of this fiefdom of rules and attitude – after tea is brought to him at the wrong time, he exasperatingly exclaims, “the tea is going out; the interruption is staying right here with me”.

The third and final part of filmmaker Luca Guadagnino’s thematic ‘Desire’ trilogy (following 2015's A Bigger Splash and 2009's I Am Love), 2017's Call Me by Your Name once again challenges its audience with themes of love (sometimes first) and loss, desire, sexuality and so much more. Nominated for four Academy Awards this 2018 (including Best Picture), the story, set in 1983, follows seventeen year old Elio (Timothée Chalamet – nominated for Best Actor in a Leading Role), a whip smart, though somewhat aloof and self-conscious teen who is spending the summer with his family in Northern Italy – he is a voracious reader and talented musician (a near prodigy). His father, Mr. Perlman (Michael Stuhlbarg), is an archaeology professor who has invited a graduate student, Oliver (Armie Hammer), to aid him as a research assistant.