This was an excellent year for film, and a lot of these categories were quite tough to pick. By no means a comprehensive list, these are simply my choices for the best work and artistry in cinema of the year. I welcome any civil discourse and argument, as that is a huge part of what makes film so interesting, how different people have different tastes and feelings.
(All images courtesy of IMDB)
BEST STUNT CHOREOGRAPHY
Mission: Impossible - Fallout
Wade Eastwood, Allan Hewitt and Wolfgang Stegemann
Fun fact: this film's mere existence is one of the primary reasons I decided to create a category for best stunt choreography. That is, in addition to the realization that stunt coordinators and performers have one of the most important and precise jobs in the industry, and usually don't get enough credit for it. The stunt work in Mission: Impossible - Fallout is truly the best I've ever seen. The film captures almost every type of stunt: hand-to-hand combat, a controlled skydive, high speed vehicle chases on open streets, and of course the breakneck helicopter chase that serves as the climax of the film. More than just having all of these stunts, though, the film uses them to make the danger feel real. We know that the performers are actually performing the actions onscreen, and as such there is a legitimacy to the action that most films nowadays lack. They also avoid having the heroes feel too invincible. They make their mistakes, take their hits, and get by with a combination of luck and skill. Truly sublime work here, and it all went into creating what is likely the best pure-action experience of the year.
BEST VISUAL EFFECTS
Avengers: Infinity War
Dan Deleeuw, Russell Earl, Kelly Port, Dan Sudick and so, so many others
Marvel's track record with visual effects is a bit hit-or-miss. All of their films use visual effects very heavily, and most of the time the effects are solid. However, a few seem to take a step backwards in technology, or fall into a trap of overuse that is occasionally distracting. Avengers: Infinity War, the culmination of the entire MCU thus far, easily had the most effects to use, with multiple motion capture characters and myriad worlds to create, in addition to the traditional action effects. Thankfully, Infinity War hit it out of the park on all fronts. The worlds feel real and interactive with the characters. The action is exciting without reaching a level that feels cartoony. And most of all, the motion capture characters are a huge jump forward in the technology. Thanos may be the villain, but he carries most of the film on his shoulders, and the effects do not undercut the performance in any way. Every nuance, every tick, and overall every aspect of Josh Brolin's performance comes through. The film would not be the success it was without Thanos being at once threatening, understandable and believable, and the hundreds of special and visual effects workers deserve much of the credit for creating that.
BEST SOUND EDITING
Mission: Impossible - Fallout
James H. Mather
Sound Editing details the work largely in the creation and timing of the sound effects themselves, mostly through post production. As one can see from that description, sound editing is dreadfully important to action films. In such an environment, this work can be the difference between feeling like a life-or-death situation is occurring, or watching a student film. Mission: Impossible - Fallout makes the most of its effects. From gunshots to punches to vehicles, every aspect of the world feels real and powerful. This makes the danger the characters are in feel all the more real, and thus the tension rises to its greatest heights.
BEST SOUND MIXING
Roma
Craig Berkey, Craig Henighan, Skip Lievsay
Sound mixing primarily details the recording of sound on set, and the work in post production to add together said recorded sound with the added effects and music, including setting the volume levels on each separate track. Roma used all this work to create a world. At every turn of the film, the surroundings feel absolutely alive. At no point does it feel like any stock background or crowd effects were used. Instead, every single sound can be heard clearly and distinctly, giving the impression that, rather than a film set, this film captured the culture occurring naturally.
BEST MAKEUP AND HAIRSTYLING
Suspiria
Mark Coulier
While horror is a genre that is often very reliant on makeup, Suspiria found ways to feel unique amongst it's genre. While there are plenty of blood and gore effects in the film, it also dabbles in creature design, body horror and even gender swapping. The numerous effects even allowed Tilda Swinton to play three different characters in the film, including the one seen above. Not only is the makeup work excellent all around, but it's creative, intriguing and terrifying.
BEST COSTUME DESIGN
Black Panther
Ruth E. Carter
In a genre that often feels a bit same-y in the costume department, Black Panther instantly stands out as head of its class. It's creation of the country of Wakanda uses wardrobe to establish much of the world. The costumes here take influence from many different African cultures, creating a style that is at once a melting pot and wholly unique. The costumes are also colorful, varied and simply fun to look at. Even when the characters step out in to modern locations, their choice of wardrobe conveys the culture of Wakanda. Add in the mixture of classic and new techniques Ruth E. Carter used to make the costumes, including the use of 3D printing, and you have a vibrant example of how clothing can be used for world-building.
BEST PRODUCTION DESIGN
Black Panther
Hannah Beachler, Jay Hart and Alan Hook
One of Black Panther's greatest strengths was it's world-building. Wakanda was developed so thoroughly that it nearly felt like a character in and of itself. Much like the costumes, the environments of Wakanda found the proper mixture of tradition and technology to convey an advanced society that has not changed its ways in years. This feeling was integral to the story of Black Panther, which dealt with how to balance keeping tradition and moving forward with the times. Not only was Wakanda fully realized, but the film's foray into Korea and London also lead to some beautiful visuals, bringing out the style and culture in both places. Add in the unique look to the vehicles and weapons, and you have a fully realized world that is an example of a major studio allowing for full creativity.
BEST CINEMATOGRAPHY
Roma
Alfonso Cuarón
Alfonso Cuarón has found a lot of success working with Emmanuel Lubezki in the past, so it was intriguing to find out that he had decided to shoot Roma himself. While a director serving as their own cinematographer can be a mistake, Cuarón used the opportunity to create a distinct and personal point of view. Far from his previous films, the camera in Roma is usually on the stationary side, using slow moves and pans to keep the subjects in frame. This creates a look that captures the important actions without calling too much attention to itself. It also employs a very large depth of field, often keeping the foreground and the background clear and in focus, so as to allow the entire world to be visible all at once. Though these techniques feel very subtle in the film, they are quite complicated, accomplishing the film's greatest strength: creating a beautiful and distinct environment without distracting from the film's lead characters.
BEST FILM EDITING
Avengers: Infinity War
Jeffry Ford & Matthew Schmidt
Avengers: Infinity War stands as a decent contender for most ambitious film ever made. There were a full eighteen films that led up to this, and it took characters and ideas from nearly all of them. There are about thirty characters of significance, spread out into several different groups, and the film had to find a way to incorporate all of them while still feeling like a cohesive story. The fact that it managed to do so is a true achievement, and a huge part of why the film worked. Though it is over two and a half hours long, the film never drags. Though it has to juggle a half a dozen stories, it never feels overly rushed. Intelligently, the film relies on the viewer's knowledge of the characters from previous films, and uses Thanos as the main anchor point of the film. Because of this decision, and the expert cross cutting, the characters all feel like they exist in the same world, and are fighting the same fight, even if they are not in the same place (or even aware of each other's involvement/existance). It would have been very easy for this film to be a complete mess, but the achievement that kept it coherent should be acknowledged.
BEST ORIGINAL SONG
Shallow-A Star is Born
Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt
Full disclosure: I have very mixed feelings on A Star is Born as a film. That said, the scene in which "Shallow" is performed is a fantastically well constructed scene, and one that serves great meaning for Lady Gaga's character Ally. While the song is very strong on it's own; it's lyrics and music are very emotional and have been rightly recognized; it is the way the song is used in the film that puts it over the edge. It is the high point of Ally's character arc, the moment she takes the plunge that begins the story of the film. While it's a little disappointing that the film peaks so early into it's runtime, that does nothing to take away from this rousing and heartfelt sequence, or the song that anchors it.
BEST ORIGINAL SCORE
If Beale Street Could Talk
Nicholas Britell
There were many great scores this year, but Nicholas Britell furthered the argument that he is the next big thing when it comes to film composition. His score for Vice was very strong, but his work on If Beale Street Could Talk is pure musical artistry. Just hearing the strings and piano and flute cause me to well up with the emotion. Britell captured the story of Tish and Fonny in his melodies. The beauty of love, mixed with the sadness of their hardships, tempered with just a touch of hope. The use of classical instruments gives this an older feel, transporting us back in time to experience the era right along with the leads. After this film, Britell may be the one composer who can get me to see a film based solely on his involvement.
BEST ADAPTED SCREENPLAY
The Death of Stalin
Armando Ianucci, Ian Martin and David Schneider
Based on the comic book by Fabien Nury and Thierry Robin
Armando Ianucci has proven himself over and over to be a master at political dark comedy, and The Death of Stalin is perhaps his strongest work yet. Using the power struggle after Stalin's death as a backdrop, Ianucci and his co-writers manage to find the humor in the fumblings and backstabbings of some of the most dangerous psychopaths to ever come to power. It would be easy to allow the humor to detract from the evil that occurred in this regime, but somehow the laughs instead manage to enhance it, painting a picture of unchecked corruption that provides the strongest laugh-per-minute ratio of the year. Equal parts hysterical and horrifying, The Death of Stalin takes gallows humor to a brand new level.
BEST ORIGINAL SCREENPLAY
The Ballad of Buster Scruggs
Joel and Ethan Coen
The Ballad of Buster Scruggs is an odd film categorize here. A western anthology, two of the stories depicted are based on previously published short stories. That said, four of the stories are original, hence my decision to include the film here. As one would expect, the Coen brothers accomplished a great feat with this film. The six stories bear no connection, yet somehow feel of the same world. Though they employ very different tones, ranging from tragic to macabre to downright cartoonish, all six stories touch on themes of life, death and nature in the old west. That even the weakest of the six stories contains some eminently quotable lines is as great a sign as any of this film's strengths in story and character.
BEST SUPPORTING ACTRESS
Rachel Weisz-The Favourite
As Lady Sarah
In some ways, Rachel Weisz's Lady Sarah could be described as the villain of The Favourite. She possesses an icy demeanor, and serves largely as an antagonist to the primary point-of-view character Abigail. However, describing the character in such simple terms undercuts the brilliant depths Rachel Weisz imbues the character with. Though she first comes across as cunning and intelligent, as the film progresses we see more and more of the fear and pain lying underneath. Even deeper than that, we see her resolve and pragmatism. Though not exactly likable, Lady Sarah is deeply fascinating, and simply a blast to watch.
BEST SUPPORTING ACTOR
Simon Russell Beale-The Death of Stalin
As Lavrenti Beria
It takes something special to be seen as the villain amongst a group of men who shrug off assassination and genocide, but boy does Simon Russell Beale accomplish that. The leader of the NKVD under Stalin, Lavrenti Beria is constantly the smartest man in the room, and coincidentally the least morally inclined. From the getgo, the audience is rooting for this man to be brought down, and his blatant scheming mixes perfectly with Simon Russell Beale's dry wit to create the film's standout character.
BEST LEAD ACTRESS
Olivia Colman-The Favourite
As Queen Anne
In this writer's opinion, Olivia Colman gave the best performance of the year of any kind. Her Queen Anne is a magnificent character. Broken both emotionally and physically, and possessing power that is far greater than even she can comprehend, Colman nails every aspect of this character. Through Colman's performance, we see the character come to change. Her journey and actions drive the film forward, and even amongst the incredible performances around her she stands above. Tragic and hilarious, often at the same time, every larger-than-life emotion is wrung for everything it is worth, without ever feeling over-the-top. This one will linger with you far after the credits start rolling.
BEST LEAD ACTOR
Christian Bale-Vice
As Dick Cheney
It's interesting, although perhaps unsurprising, to see the amount of film's this year that used humor to depict the dangers of unchecked power. Though Vice was an often-messy film, Bale absolutely owned the screen as Dick Cheney. Given the strength of his career thus far one would think it would be difficult to deliver a career best performance at this point, but he somehow managed to do it. At no point during the film does it feel like you're watching an actor playing a role. Instead, it feels like you are watching an intelligent man climb his way up to the greatest power in the country by hiding in the shadows. Though he comes across as truly despicable, the scariest part is that, through Bale's portrayal, you start to understand how he became the person he is. It's a sobering reminder that the most evil actions in history weren't performed by monsters, but rather by men, who found themselves in possession of great power. Though much of this film is played for laughs, Bale's final scene will chill you to the bone.
BEST ENSEMBLE CAST
The Ballad of Buster Scruggs
Casting Director Ellen Chenowith
Tim Blake Nelson, Willie Watson, Clancy Brown, James Franco, Stephen Root, Ralph Ineson, Liam Neeson, Harry Melling, Tom Waits, Zoe Kazan, Bill Heck, Grainger Haines, Jefferson Mays, Tyne Daly, Brendan Gleeson, Jonjo O'Neill, Saul Rubinek and Chelcie Ross
Six ensembles for the price of one, the most fascinating thing about the acting in Buster Scruggs is just how deep the excellence runs. The Coen Brothers are at the top of their field in terms of the strength of their minor characters, and this film does nothing to change that. Characters such as Stephen Roots banker and Clancy Brown's Curly Joe may have only the briefest of screen time, but they make their characters endlessly memorable. Meanwhile, main characters such as the titular Buster Scruggs, played by Tim Blake Nelson, and Tom Waits prospector make just as strong a mark, turning even narration into something fascinating and character driven. My favorite performance may be that of Harry Melling as the "wingless thrush." Speaking not a word outside of his performances, he sells the character with his subtle expressions, drawing the audience's sympathy as his story turns darker and more desperate. In truth, though, there is not a weak performance in the bunch, and it makes for an exceptionally deep experience, and allows even the less interesting of its stories to remain fun and watchable.
BEST DIRECTING
Joel and Ethan Coen-The Ballad of Buster Scruggs
The western genre has been making something of a soft comeback in the last decade, and it is owed largely to three filmmakers: Quentin Tarantino and the Coen Brothers. Starting with the neo-western No Country for Old Men in 2007, the Coens went on to make True Grit three years later, a rare remake that improves upon the original. Now, they return to that genre with a compilation of six short films, all depicting the struggle between life and death on the frontier. That each of the six stories carries its own tone, while simultaneously feeling connected shows just how well these two understand the strengths and possibilities of the genre. Proving just as adept at wringing the sorrow out of an unnecessary tragedy as finding the humor in using a table as a murder weapon, these brothers use gorgeous visuals and excellent performances to craft a story that truly only they could have created.
BEST PICTURE
The Ballad of Buster Scruggs
The Ballad of Buster Scruggs, along with Roma, are perhaps our greatest signs yet of how Netflix has changed the film industry. Their business model, free from the needs of the more straightforward studios, allows for greater experimentation within the medium. Now that they are releasing their films in limited theatrical runs, it seems as though they have found their niche. Buster Scruggs, an anthology film, may have struggled to find an audience under normal circumstances, but the fact that it can exist now is something very exciting. An example of the Coens at their unfettered best, this film alone is proof of the benefits of Netflix's model. Beautiful and sad, funny and violent, The Ballad of Buster Scruggs allows Joel and Ethan Coen to check off all boxes, and create a one of a kind film experience. I have already watched this film multiple times, and plan to watch it many more. More than that, I look forward to the future of film, and hope that a sustained level of creativity will be upheld for years to come.
