whatisthatfilm’s Emmy Predictions!

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BEST COMEDY

  • Atlanta (FX)
  • black-ish (ABC)
  • Master of None (Netflix)
  • Silicon Valley (HBO)
  • Unbreakable Kimmy Schmidt (Netflix)
  • Veep (HBO)

BEST DRAMA

  • Better Call Saul (AMC)
  • The Crown  (Netflix)
  • The Handmaid’s Tale (Hulu)
  • House of Cards (Netflix)
  • Stranger Things (Netflix)
  • This Is Us (NBC)
  • Westworld (HBO)

BEST LIMITED SERIES

  • Big Little Lies (HBO)
  • Fargo (FX)
  • Feud: Bette and Joan (FX)
  • Genius (National Geographic)
  • The Night Of (HBO)

BEST ACTRESS, COMEDY

  • Pamela Adlon, Better Things
  • Jane Fonda, Grace and Frankie
  • Allison Janney, Mom
  • Julia Louis-Dreyfus, Veep
  • Ellie Kemper, Unbreakable Kimmy Schmidt
  • Tracee Ellis Ross, black-ish
  • Lily Tomlin, Grace and Frankie

BEST ACTOR, COMEDY

  • Anthony Anderson, black-ish
  • Aziz Ansari, Master of None
  • Zach Galifinakis, Baskets
  • Donald Glover, Atlanta
  • William H. Macy, Shameless
  • Jeffrey Tambor, Transparent

BEST ACTRESS, DRAMA

  • Viola Davis, How to Get Away with Murder
  • Clair Foy, The Crown.
  • Elizabeth Moss, The Handmaid’s Tale
  • Keri Russell, The Americans
  • Evan Rachel Wood, Westworld
  • Robin Wright, House of Cards

BEST ACTOR, DRAMA

  • Sterling K. Brown, This Is Us
  • Anthony Hopkins, Westworld
  • Bob Odenkirk, Better Call Saul
  • Matthew Rhys, The Americans
  • Liev Schreiber, Ray Donovan
  • Kevin Spacey, House of Cards
  • Milo Ventimiglia, This Is Us

BEST ACTRESS, LIMITED SERIES OR TV MOVIE

  • Carrie Coon, Fargo
  • Felicity Huffman, American Crime
  • Jessica Lange, Fedu: Bette and Joan
  • Nicole Kidman, Big Little Lies
  • Susan Sarandon, Feud: Bette and Joan
  • Reese Witherspoon, Big Little Lies

BEST ACTOR, LIMITED SERIES OR TV MOVIE

  • Riz Ahmed, The Night Of
  • Benedict Cumberbatch, Sherlock: The Lying Detective
  • Robert De Niro, The Wizard of LIes
  • Ewan McGregor, Fargo
  • Geoffrey Rush, Genius
  • John Turturro, The Night Of

BEST TELEVISION MOVIE

  • Black Mirror: San Junipero
  • Dolly Parton’s Christmas of Many Colours: Circle of Love
  • The Immortal Life of Henrietta Lacks
  • Sherlock: The Lying Detective
  • The Wizard of Lies

BEST SUPPORTING ACTOR, DRAMA

  • Jonathan Banks, Better Call Saul
  • David Harbour, Stranger Things
  • Ron Cephas Jones, This Is Us
  • Michael Kelly, House of Cards
  • John Lithgow, The Crown
  • Mandy Patinkin, Homeland
  • Jeffrey Wright, Westworld

BEST SUPPORTING ACTRESS, DRAMA

  • Uzo Aduba, Orange is the New Black
  • Millie Bobby Brown, Stranger Things
  • Ann Dowd, The Handmaid’s Tale
  • Chrissy Metz, This Is Us
  • Thandie Newton, Westworld
  • Samira Wiley, The Handmaid’s Tale

BEST SUPPORTING ACTOR, COMEDY

  • Louie Anderson, Baskets
  • Alec Baldwin, Saturday Night Live
  • Tituss Burgess, Unbreakable Kimmy Schmidt
  • Ty Burrell, Modern Family
  • Tony Hale, Veep
  • Matt Walsh, Veep

BEST SUPPORTING ACTRESS, COMEDY

  • Vanessa Bayer, Saturday Night Live
  • Anna Chlumsky, Veep
  • Kathryn Hahn, Transparent
  • Leslie Jones, Saturday Night Live
  • Kate McKinnon, Saturday Night Live
  • Judith Light, Transparent

BEST SUPPORTING ACTOR, LIMITED SERIES OR MOVIE

  • Alexander Skarsgard, Big Little Lies
  • David Thewlis, Fargo
  • Alfred Molina, Feud: Bette and Joan
  • Stanley Tucci, Feud: Bette and Joan
  • Bill Camp, The Night Of
  • Michael Kenneth Williams, The Night Of

BEST SUPPORTING ACTRESS, LIMITED SERIES OR A MOVIE

  • Judy Davis, Feud: Bette and Joan
  • Laura Dern, Big Little Lies
  • Jackie Hoffman, Feud: Bette and Joan
  • Regina King, American Crime
  • Michelle Pfeiffer, The Wizard of Lies
  • Shailene Woodley, Big Little Lies

BEST GUEST ACTRESS, DRAMA

  • Alison Wright, The Americans (FX)
  • Alexis Bledel,  The Handmaids Tale (Hulu)
  • Cicely Tyson, How To Get Away With Murder (ABC)
  • Ann Dowd, The Leftovers (HBO)
  • Laverne Cox, Orange is the New Black (Netflix)
  • Shannon Purser, Stranger Things (Netflix)

BEST GUEST ACTOR, DRAMA

  • Ben Mendelsohn, Bloodline (Netflix)
  • BD Wong, Mr. Robot (USA)
  • Hank Azaria, Ray Donovan (Showtime)
  • Denis O’Hare, This Is Us (NBC)
  • Brian Tyree Henry, This Is Us (NBC)
  • Gerald McRaney, This Is Us (NBC)

BEST GUEST ACTRESS, COMEDY

  • Wanda Sykes, black-ish (ABC)
  • Carrie Fisher, Catastophe (Amazon)
  • Becky Ann Baker, Girls (HBO)
  • Angela Bassett, Master Of None (Netflix)
  • Kristen Wiig, Saturday Night Live (NBC)
  • Melissa McCarthy, Saturday Night Live (NBC)

BEST GUEST ACTOR, COMEDY

  • Riz Ahmed, Girls (HBO)
  • Matthew Rhys, Girls (HBO)
  • Dave Chappelle, Saturday Night Live (NBC)
  • Lin-Manuel Miranda, Saturday Night Live (NBC)
  • Tom Hanks, Saturday Night Live (NBC)
  • Hugh Laurie, Veep (HBO)

BEST ANIMATED PROGRAM

  • Archer (FX Networks)
  • Bob’s Burgers (FOX)
  • Elena and the Secret of Avalor (Sofia the First) (Disney Channel)
  • The Simpsons (FOX)
  • South Park (Comedy Central)

BEST REALITY COMPETITION PROGRAM

  • The Amazing Race (CBS)
  • American Ninja Warrior (NBC)
  • Project Runway (Lifetime)
  • RuPaul’s Drag Race (VH1)
  • Top Chef (Bravo)
  • The Voice (NBC)

BEST REALITY HOST

  • Alec Baldwin, Match Game
  • W. Kamau Bell, United Shades Of America With W. Kamau Bell
  • RuPaul Charles, RuPaul’s Drag Race
  • Heidi Klum and Tim Gunn, Project Runway
  • Gordon Ramsay, MasterChef Junior
  • Martha Stewart and Snoop Dogg, Martha & Snoop’s Potluck Dinner Party

BEST WRITING FOR A COMEDY SERIES

  • Donald Glover, B.A.N. from Atlanta
  • Stephen Glover, Strees on Lock from Atlanta
  • Aziz Ansari & Lena Waithe, Thanksgiving from Master of None
  • Alec Berg, Success Failure from Silicon Valley
  • Billy Kimball, Georgia from Veep
  • David Mandel, Groundbreaking from Veep

BEST WRITING FOR A DRAMA SERIES

  • Joe Weisberg & Joel Fields, The Soviet Division from The Americans
  • Gordon Smith, Chicanery from Better Call Saul
  • Peter Morgan, Assassins from The Crown
  • Bruce Miller, Offred (Pilot) from The Handmaid’s Tale
  • The Duffer Brothers, Chapter One: The Vanishing of Will Byers from Stranger Things
  • Lisa Joy & Jonathan Nolan, The Bicameral Man from Westworld

BEST WRITING FOR A LIMITED SERIES, MOVIE OR DRAMA

  • David E. Kelley, Big Little Lies
  • Charlie Brooker, Black Mirror: San Junipero
  • Noah Hawley, The Law Of Vacant Places from Fargo
  • Ryan Murphy, And The Winner Is… (The Oscars Of 1963) from Feud: Bette and Joan
  • Jaffe Cohen, Michael, Michael Zam & Ryan Murphy, Pilot from Feud: Bette and Joan
  • Richard Price & Steven Zaillian, The Call Of The Wild from The Night Of

BEST DIRECTING FOR A COMEDY SERIES

  • Donald Glover, B.A.N. for Atlanta
  • Jamie Babbit, Intellectual Property for Silicon Valley
  • Morgan Sackett, Blurb for Veep
  • David Mandel, Groundbreaking for Veep
  • Dale Stern, Justice for Veep

BEST DIRECTING FOR A DRAMA SERIES

  • Vince Gilligan, Witness for Better Call Saul
  • Stephen Daldry, Hyde Park Corner for The Crown
  • Reed Morano, Offred (Pilot) for The Handmaid’s Tale
  • Kate Dennis, The Bridge for The Handmaid’s Tale
  • Lesli Linka Glatter, America First for Homeland
  • The Duffer Brothers, Chapter One: The Vanishing Of Will Byers for Stranger Things
  • Jonathan Nolan, The Bicameral Mind for Westworld

BEST DIRECTING FOR A LIMITED SERIES OR TV MOVIE

  • Jean-Marc Vallée, Big Little Lies
  • Noah Hawley, The Law Of Vacant Places for Fargo
  • Ryan Murphy,  And The Winner Is… (The Oscars Of 1963) for Feud: Bette and Joan
  • Ron Howard, Einstein: Chapter One for Genius
  • James Marsh, The Art Of War for The Night Of
  • Steven Zaillian, The Beach for The Night Of

Another addition to the franchise that didn’t need to happen.

Star Wars: Episode VII – The Force Awakens is set three decades after the defeat of the Galactic Empire, a new threat arises. The First Order attempts to rule the galaxy and only a rag-tag group of heroes can stop them, along with the help of the Resistance.

*This is your warning: this review has spoilers*

Although I was optimistic when I went into the packed showing in Empire Leicester Square’s IMAX screen, there was a part of me that was really worried it wasn’t going to live up to the expectations and the hype that surrounded the film. And for the most part, it was hardly original, the new characters were mostly unexplained with Rey frustratingly annoying, conveniently good at everything, and lack of emotion for her character; Finn basically useless and sidelined as the comic-relief; Poe hardly seen or his character explained; General Hux lacking any sort of emotional connection; and Captain Phasma disappearing after being forced to comply with Finn’s demands.

The potential relationship between Finn and Rey seems rushed and almost unbelievable. And with Rey supposing to be the lead of the film, it felt like Finn was instead as we’re lead through a lot of the story by him. If Rey is supposed to be the lead, obviously having a strong sense of the force about her as she’s seems somewhat linked to Luke Skywalker, we have to care enough about her. She was apparently left on Jakku alone by an unknown character for no reason that’s made clear to raise herself and becomes a scavenger. This isn’t enough to make her likeable or relatable. Like many of her co-characters that were introduced in The Force Awakens, she fell flat with a lacking in her history in making her character real.

Adam Driver’s character of Kylo Ren was understandable and probably had the most amount of character background and development within the film. Essentially, though, he’s a Darth Vader fanboy that’s hardly as intimidating as his predecessor. There’s also the issue with the reveal of his heritage – this could’ve been done in another way and not revealed so casually through dialogue. I mean, if you take the reveal of Darth Vader being Luke Skywalker’s father in Empire Strikes Back, it is probably one of the most memorable scenes in film history and was expressed through a simple line of dialogue against a decent amount of backstory revealed in the rest of the film and it’s preceding film. If Kylo Ren was shown as being so conflicted from the very beginning, and being totally honest about this, would have made it more interesting as he wasn’t exactly pulling his bad-assness off. And also Han and Leia referring to him as their son felt somewhat strange and forced, almost unbelieving of it.

If you want to see a good Star Wars film, see Episode IV instead of The Force Awakens as the major elements of the story are exactly the same, filled with almost cheap stabs at nostalgia, but this isn’t entirely a bad thing but when it makes up a lot of the film, it’s not exactly a good thing. The possibilities were endless for The Force Awakens and there was hardly an excuse for recycling old films. It’s like it was almost played safe It was good to see the originals again, and the cheer from the audience when Chewie and Han appeared was enthusiastic as anything, but when Han was killed by his son Kylo Ren, you could feel the audience sag into a depression that affected the rest of the film. How his death came about was emotional, yes, but could’ve had a stronger impact. There was a weak applause for the return of the beloved droid R2D2 as the depression still hung and the appearance of Luke Skywalker seemed hardly relevant against the destruction of Starkiller Base.

Story and character development, with particular reference being made to the relationships between old and new characters, is virtually non-existent. Everybody just happens to love everyone else immediately and with no reason. And Rey, our new, strong, female protagonist, is conveniently amazing at everything she does instantly without any reasoning as to why. But then given that the story is so poor, without this convenience there would be nothing left.

The Force Awakens is a film I thought I might see multiple times at the cinemas but not only do I not want to put myself through Han’s death once more (he was by far one of the best characters of the series), but it didn’t feel like it had that re-watchability that the originals had or even moments of the prequels had to – you can’t deny the fight scene between Qui-Gon Jinn, Obi-Wan Kenobi, and Darth Maul in Episode I and Obi-Wan and Anakin in Episode III were great moments in somewhat disappointing films.

Each person is allowed to have their own opinions of this film, whether it be enthusiastic or somewhat disappointed and I’m happy to talk to anyone about any of the points that I’ve mentioned in this review.

Film-O-Meter: 7/10.

An thoroughly enjoyable enhancement to the ‘Star Wars’ franchise.

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Rogue One: A Star Wars Story
 tells the story of the Rebellion who makes a risky move to steal the plans for the Death Star, setting up the epic saga to follow.

This was a film that I thoroughly enjoyed and definitely a lot more then last years Star Wars outing in The Force Awakens, though what made that film was John Boyega’s Finn as he has that charming charisma that would be able to hold any film. Out of all the new cast for the films post original trilogy, he was my favourite. As for Rogue One, the sarcastic robot voiced by Alan Tudyk was something that I never knew I needed.

There was a lot of pressure on this film to set up the episodic films that weren’t an addition the progression of the series like The Force Awakens. This is a very dark take on the film but fit so well between Episode III and Episode IV. At the final seconds of the film when A New Hope CGI Carrie Fisher was created, first seen from the back in her iconic Princess Leia costume before turning to face the audience in a draw dropping re-creation, I honestly almost cried. The last ten minutes is so filled with nostalgia that it would make any Star Wars fan cry with happiness. I honestly think that the main reason why I enjoyed this film so much is because the original trilogy was such an integral part of my childhood like many of the animated Disney films or Pokemon were for others of my generation. Even seeing the likes of Carrie Fisher, Mark Hamill, or Harrison Ford reprising their roles wasn’t the same and maybe that was because the film that was created last year embraced the past a little too much and essentially re-creating a film for a new audience instead of taking inspiration like Rogue One and creating something new from it.

A contributing point to this could be that Rogue One was darker and more war orientated without completely ostracising the younger audience. It is a very adult movie at heart as we experience more of the war side of Star Wars rather then focused on a force user. We do get some ’lightsaber action’ towards the end of the film with an appearance from Darth Vadar but other then that, there are no jedi or force users apart form him. We got to see more of the locking of heads between Rebellion and the Empire, something that was mainly a backstory in many of the other Star Wars films with more of a focus on the journey of characters such as Luke or Anakin or Rey as they discover their force related powers.

Although the overall tone of the film was darker and more war like, with English director Gareth Edwards handling his role very well and creating a well rounded film, Rogue One was balanced out by various one liners delivered by my favourite character of the film — K2SO, voiced by Alan Tudyk. He was the comedic relief with heart in a serious film and because of that, you’re drawn to his character and he stands out amongst the rest in a good way.

K2SO was probably one of the better developed characters, also, as many were limited only too this one film and you could see that they wouldn’t last more than this outing. This is completely fine as many of them were near perfect, especially in their casting, though I still had my doubts about Felicity Jones. These doubts were confirmed upon watching the film as she delivered her lines like they were stale in her mouth and portrayed absolutely no emotion in saying them. Though each of the characters served their purpose in regards to the film, she was by far the weakest with K2SO and Donnie Yen’s Chirrut a close second in his connection to the force and Star Wars law.

If you’re like many who didn’t read the companion piece to the film in Catalyst in the lead up to Rogue One, it’s still an enjoyable film that I would love to see again at the cinemas and plunged me back into the original trilogy that I loved so much. In saying that, the novel may have given more insight into the development of the characters and the meaning behind some of the events that occurred in the film as there’s unfortunately only so much you can include in the film without blowing the run time out of proportion.

One of my favourite scenes of the film was the final space battle were everything culminated and you could feel the tension coursing through you, as well as the rest of the cinema. It was nothing like The Force Awakens where I left the cinema ultimately disappointed and the third act falling considerably flat compared to the previous two. The third act was one of the strongest points of Rogue One and it strongly lead into A New Hope. With the help of modern technology, the visuals were on point as with many Star Wars films being way ahead of their time. It wasn’t a complete eyesore like some of the intense battle sequences in many of the Marvel or DC films of late and was very grounded, figuratively and literally. The majority of the battle was on the ground, which was great as it tied us in with the characters a lot more instead of showing off flashy special effects in the spectacle that was happening above them.

All in all, if it isn’t clear that I loved this outing, let me be clear right now — go and see this film. It’s worth your money and your time. It isn’t all about the lightsabers and the Skywalkers messing things up in the universe, though without them, we wouldn’t exactly have any Star Wars films, would we? As a film, it enhance’s A New Hope instead of copying it and immediately made you want to go and watch A New Hope as soon as you got up from your seat in the cinema. We finally have a big budget film, at least this year, that we can actually enjoy.

Film-O-Meter: 9/10.