Another Look at 'Clemency'

by Murtada Elfadl

Hodge and Chukwu at ND/NF

Chinonye Chukwu’s Clemency opened the New Directors/New Films fest in New York last night. I got the chance to see it again and any reservations I had about it went away. This is a new version that is tighter than the one I saw at Sundance. While the changes are miniscule, they really pull the film together and focus its story. At Sundance I praised the central performance of Alfre Woodard as a prison warden managing a prison that includes a death row. However I thought the film meandered and was repetitive.

Not anymore!

Now it centers Woodard’s dealing with the processing of one death row inmate (Aldis Hodge) and the forces both against him and defending him. The focus is still on the toll all this takes on the psyche of Woodard’s Bernadine; so she is still front and center and owns the film. What is around her now flows easier and the film’s message about capital punishment remains potent. Chukwu won Sundance grand jury prize making history as the first black woman to do so. Clemency announces her as an exciting new director.

Oscar Chances: Obviously Woodard is its biggest and perhaps only chance at Oscar. The performance is there and so are the critical plaudits, however she needs a patient release plan to allow the film to reach its audience (The Wife playbook if you will). Other than that I see this as a film that Gothams/Indie Spirits will fall in love with - with possible nominations for film, director and supporting actor (Aldis Hodge).

The Next Best Actor Race

by Nathaniel R

Pacino & DeNiro together for the fourth time in "The Irishman"

A month ago we started brainstorming about Best Actress 2019 so before the April Foolish Oscar Predictions are announced let's brainstorm about possibilities in the male acting categories. It looks thin to us thus far, reminding us that we'd be happiest with 4 female acting categories instead. That said, it's hard to keep track of everything in every stage of production so we hope you'll share anything you're exciting about that we may have missed or any hunches you have about upcoming films.

These are neither value judgments (since so few films have been screened) nor predictions (that's in April) but merely a listing of performances that are on the way...

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Nathaniel's Ballot: Best Actor / Supporting Actor

'It's not redundant to still be handing out awards after the Oscars as long as the awards themselves aren't the same!' This is what I tell myself as I wrap up the Film Bitch Awards two weeks later than is proper! There's just 3 categories to go now (so we'll be done by next weekend) before we can hold the world's fastest awards ceremony. It involves a behind-the-scenes slapping of gold, silver, and bronze visual designations onto three of the nominees in each category.

Today, we're talking about the men...

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Ranking the Oscar Clips

by Ben Miller

Of all the decisions the Academy Awards producers/directors must make, the Oscar clip decisions are surely the most covetous -- who among us wouldn't want to chose? They're fairly crucial, too.  I ranked all the clips last year, and Nathaniel was nice enough to let me do it again.  The clips preceding each of the categories ranged from brilliant to “what the hell was that?”  Let’s rank them 20-1…

Cringe-worthy

I sometimes wish I'd never been born at aaaaaaallllllll 🎵

20. Viggo Mortensen, Green Book
19. Rami Malek, Bohemian Rhapsody

Woo boy.  I would personally defend the work of both of these performances, but the snippets shown on Sunday did not lend any firepower to those arguments.  Viggo gets to wax on like an idiot about not knowing the difference between Russian and German before laying on some casual racism. Malek has plenty of good moments in the Queen biopic, but a simple shot of him lipsyncing reads like an Oscar producer’s opinion on the performance itself seeping through.

Not Doing Anyone Any Favors...

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Interview: Richard E Grant on lucky breaks, film diaries, and "Can You Ever Forgive Me?"

by Nathaniel R

Richard E Grant's timing was impeccable during my own journey into cinephilia. I was in the process of falling madly deeply in love with movies when he made his debut in the cult classic With Nail and I (1987) and as I became more invested in not just movie stars but the crucial contributions of character actors to rich movies, he was everyone in so many movies I loved: Henry & June (1990), L.A. Story (1991), Bram Stoker's Dracula (1992), The Age of Innocence (1993). I bought his first book "With Nails: The Film Diaries of Richard E Grant" in hardcover right when it was published and later bought it again in paperback. I bring up this chronological personal fandom so that'll you'll understand that I was surely as visibly thrilled to sit down with Richard E Grant as he has appeared to be for the entirety of this awards season. We're both giddy about the Oscar nomination for his incredible performance as the slippery but loveable Jack Hock in Can You Ever Forgive Me?

But we began by discussing the book. I'd read it too often to begin anywhere else...

[The interview has been edited for length and clarity.]

One of the funniest film books you'll ever read. A must-have for fans of 1990s cinemaNATHANIEL R: Do you still do film diaries or did you do it only for your book 'With Nails: The Film Diaries of Richard E Grant"?

RICHARD E GRANT: I've kept diaries since I was 11 years old, since I saw my mother shagging my father’s best friend on the front seat of a car, by accident. I tried religion, got no reply, couldn’t tell my friends, certainly couldn’t tell my parents what I’d seen, so I kept a diary to keep sane, and it has kept me relatively sane all these years. I was on the ill-fated  Ready to Wear (Prêt-à-Porter) movie for Robert Altman, and a newspaper in England asked me if I would write a diary, so I did, and they published it...

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