Problemista

Ex-SNL writer and comedian Julio Torres wrote directed and stars in this film as Alejandro, plays an aspiring toymaker struggling to find an employer willing to sponsor his immigration visa.

Early in the film, he meets the ultimate Karen/Miranda Priestly, this time named Elizabeth (Tilda Swinton). She potential-maybe-ish hires him to assemble a gallery show of paintings by her cryogenically frozen husband.

Elizabeth is the type of boss who assumes Alejandro can not only solve her filing issues using just Filemaker Pro but also float her pricey FedEx needs. In time, the duo becomes a fine pair of misfits worth rooting for.

A lot of Problemisa works. I laughed a lot at Elizabeth's over-the-top character and Alejandro's subtle physical comedy. It's also a very entertaining commentary on millennial angst, the gig economy, and the catch-22 of the U.S. immigration system. It also delivers some truly touching moments.

The problem with Problemista however, is that it tries of lot of additional, experimental things that do not work as well. I would have skipped the magical Salividorian mother story which condescendingly sidetracks the story. A sketchy bit representing Craigslist as a genie is completely overused and the other fantasy sequences come across more trite than edgy.

This is the type of film we used to have once a week and you'd enjoy its uniqueness at the theater, enjoy the performances, and then look forward to the next week. In the new world where folks visit the theater a few times of the year and watch most experimental works on their TV, I can't say this is a must-see. But with less lofty expectations, Torres and Swinton's characters, combined with a satisfying ending, are fun enough to give it your ten bucks.

In a nutshell: Julio Torres and Tilda Swinton center are a funny duo worth rooting for in a film that is not.

Where to watch: In theaters now.

Award potential: Unlikely.

Would it be better with Olivia Colman: Of course.

The Ten Buck Review: Worth ten bucks or catch it when its streaming.

Perfect Days

This weekend, I watched the IMAX spectacle of the second Dune and the quiet beauty of the Oscar-nominated Japanese drama Perfect Days. Two strong films, but it's the latter one that I expect to stay with me longer.

Set entirely in Tokyo and in Japanese, director Wim Wenders (Paris, Texas) takes us through the daily grind of a restroom cleaner named Hirayama, played by Kōji Yakusho (Babel). Originally, it was supposed to be a doc about Tokyo's unique new public toilets, but luckily for us, Wenders saw a deeper story in Hirayama's solitary life.

Hirayama doesn't say much, but his surroundings speak volumes. The way the camera captures the play of light and shadows amidst the trees made me feel like I was right there with him. It's a timely reminder that even the most mundane things can hold beauty.

No worry, I'm not going to spoil the plot of this film, especially as it's questionable whether there is one. I'll just note that it's the slowest quietest film of the year — and quite amazing.

Perfect Days is not perfect. Not every supporting character hits the mark, and you've gotta be in the mood for this slow burn, but I found it utterly beautiful, especially how it nails the final arc. 

In a nutshell: Perfect Days is a quiet, quite simple, heartfelt tribute to the rhythm of everyday life and the connections we make along the way.

Where to find it: In theaters— and on VOD (rent or buy) starting this weekend

Would it be better with Olivia Colman? Of course.

Award potential: It's Japan's entry for Best International Film Oscar, but the competition is tough: the haunting Zone of Interest (UK), thrilling Teacher's Lounge (Germany) and the dynamic heart-stopping Society of the Snow (Spain) which has basically a youknow-what's chance of being a spoiler.

The Ten Buck Review: Worth ten bucks.

This year's Oscar gem: the Documentary Shorts

This year, a lot of cheering and very little tearing

Put the tissues away. In contrast to previous years in this category and the feature documentaries this year, this collection of nominated documentary shorts is a collection of vibrant, uplifting, and truly inspirational films. They offer a delightful viewing experience, making them perfect for streaming at home. 

Below, you'll find a brief overview of each, along with where to watch them and their prospects for the upcoming Oscars on Sunday. Enjoy!

The Last Repair Shop (39 minutes)

Since 1959, Los Angeles has been one of the few American cities to offer provision and repair of musical instruments for public school students —at no charge — to ensure no student is deprived of the joy of music. This documentary delves into the lives of four craftsmen, each expertly skilled in a specific section of the orchestra, alongside the students whose experiences have been transformed by the shop's services.

"A lot of people see a broken thing, and they just think it's broken." That line from the film could apply to both the students in this film and the work the artisans do. This beautifully shot film celebrates the enduring impact of music education on the community. While it's not the frontrunner to win, it's my prediction for a surprise win. It's wonderful.

Where to find it: Disney+

The ABCs of Book Banning (27 minutes)

Adults in Florida have said a lot about books with LGBTQ topics and racial issues, but this film proposes that children have a lot to say about the legislation behind book banning in public schools. Documentary titan and co-producer and co-director Sheila Nevins of MTV Documentary Film recently announced her retirement and a win here would make a memorable send-off. This is the frontrunner to win the support of the documentary community. However, everyone in all categories votes for the final Oscar win.

The children showcased in this short film express confusion and anger, mirroring the sentiments of Grace Linn, a 100-year-old protester against the ban. Linn delivers a deeply impassioned speech, echoing the emotional intensity of this often heartbreaking film.

Where to find it: Paramount+

Nǎi Nai & Wài Pó (17 minutes)

Backed by Walt Disney Pictures, this endearing and uplifting short showcases the filmmakers' paternal and maternal grandmothers, who share a home, dance, and fart together. It has garnered significant attention as a beloved underdog story. However, I find it too lightweight and insignificant to take the top prize.

Where to find it: Hulu, Disney+

The Barber of Little Rock (35 minutes)

This doc illuminates the story of an African American barber in Arkansas who founded a nonprofit community bank aimed at addressing the racial wealth gap. Its emphasis on community empowerment and impact has garnered widespread support and acclaim, making it a compelling contender for an upset.

Where to find it: The New Yorker online

Island in Between (20 minutes)

Amidst the pandemic, filmmaker S. Leo Chiang offers a poignant reflection on China-Taiwan relations as he revisits his childhood home in Taiwan. This doc comes from the The New York Times and is the least likely to win on Sunday.

Where to find it: The New York Times online

The Ten Buck Review: All worth ten bucks.

Win your Oscar pool the stat-tastic way

Win your Oscar pool the stat-tastic way.

There's a lot to be excited about Oscar Night this year from the potential first Native American to win an acting Oscar to the long-awaited coronation of director Christopher Nolan to my predictions of an opening number "I'm Just Kimmel" featuring the show's host. And of course, it's always more exciting when you win the Oscar pool.

It's another unique year for Oscars so we’re gonna need some math to help your Oscar office pool. We'll start with the easiest one.

Win the Best Director category

Go with whoever won the Director’s Guild of America award. Those winners have matched in 64 of 75 years, including the last three straight. In the easiest pick of the night, Christopher Nolan wins his first for Oppenheimer.

Win the Best Foreign Feature Film category

In four of the past five years, one of the nominees was also nominated for Best Picture. In all cases, that film won here. Go with the only film that is nominated for Best Picture this year as well as a total of five nominations across the board and is rumored to be surging towards a Best Picture win too — Zone of Interest.

Win the Best Animated Feature Film category

While I think the highbrow choice, The Boy and the Heron, has a chance to win, 12 out of 16 PGA-winning animated films also won the Animated Feature Academy Award, which puts the math in favor of Across the Spider-Verse.

Win the Best Music (Original Score) category

Swedish composer and conductor Ludwig Goransson should win a companion Oscar with his first (Black Panther) for the clear standout in originality and impact — Oppenheimer wins here.

Win the Best Visual Effects category

Since the VES Awards launched in 2002, the winner of its top film category has gone on to score the Best Visual Effects Oscar in 12 of the past 21 years. That might indicate a miniature edge to the film that dominated there, The Creator. That's not a lot of math magic to make me change my vote from Godzilla Minus One, which would be a great Oscar night moment.

Win the Best Actor/Actress/Supporting Actor/Supporting Actress categories

The SAG voters are all actors and are the largest block of voters for the Academy Awards. They are a more diverse group, yet their picks align with Oscar more than any other. In the past two years, all the SAG winners repeated at the Oscars. This means Cilllian Murphy, Lily Gladstone, Robert Downey Jr. and Da'Vine Joy should polish their speeches now. 

Win the Best Adapted Screenplay category

The USC Scripter Awards has accurately predicted this category for 10 of the last 14 years, and they awarded American Fiction. But tricky to this year, the only awards this season to have Barbie as adapted is the Oscars. American Fiction makes sense here until you factor in the wish to see Greta on stage. American Fiction is the smart math vote,  but I predict Barbie. 

Win the Best Original Screenplay category

The respected Writers Guild (WGA) is the closest guide on any given year — but not this one. The WGA will take place in April which marks the first time it was awarded after the Oscars. Anatomy of a Fall has won all similar events and The Academy would love to find a place to reward this film. It should prevail here too.

Win the Best Sound category

War films usually win here so Oppenheimer and The Creator check all the boxes. Go with Cinema Audio Society (CAS) Sound Mixing Award-winner Oppenheimer.

Win the Best Music (Original Song) category

There’s not a lot of math for this category, just remember that all members (not just musicians) vote in this category. Go with the Grammy and Golden Globe winner “What Was I Made For” from Barbie, sure to be a show highlight when performed. 

Win the Best Editing category

Throughout history, this award always has had a Best Sound nomination too. This year, they all do. The film with 13 nominations should win here — Oppenheimer.

Win the Best Cinematography category

The Cinematographer's Award (ASC) is a good one to watch and they chose Oppenheimer. You should too.

Win the Best Production Design category

The winner of this category often aligns with the winner of Art Director's Guild Award and the AGA went to Poor Things (fantasy), Oppenheimer (period) and Saltburn (contemporary) which is bad news for Barbie. 

This award, the 2012-renamed “Best Art Direction" award, doesn’t usually match Best Picture (Just four times since 2000), so math takes us to Oppenheimer not winning here.

Math from the AGA tells us Poor Things takes this one but I won't be upset if you check Barbie instead. Sarah Greenwood (Barbie) is the most nominated production designer in this category without a win.

Win the Best Costume Design category

Barbie won at the Costume Designer Guild Awards for Fantasy and Poor Things won for Period film so the match narrows it to two. BAFTA, which resembles the Academy more than the Costume Guild, went with Poor Things, but they were never going to pick Americana Barbie. 

It's neck and neck. I think the Academy will go with red-carpet-friendly Barbie. Jacqueline Durran's win would be her third, on the shelf with Oscars for Anna Karenina and Little Women.

Win the Best Makeup and Hairstyling category

The MUAHS award rewarded Maestro, the obvious winner here by a nose.

Win the Best Documentary Feature category (Feature)

This year, even more than normal, it's a somber field of serious and seriously sad films. Bobi Wine: The People's President is the easiest watch, but 20 Days in Mariupol has the most praise.

Win the Best Animated Short Film category

None of the nominations this year are from Pixar or Disney so that math goes out the window. It's best to remember that everyone votes in this category, not animators. Letter to a Pig is a frontrunner that checks all the boxes, but easy to lean into films often win with a crowd. Go with War Is Over! Inspired by the Music of John and Yoko, which won the Annie.

Win the Best Documentary Short category

This year, the films are more delightful than devastating in a category where there is no year-over-year nor precursor math to play with. The Last Repair Shop has the power of its subject,  Nai Nai & Wai Po has a great (Disney) campaign but it's more whimsical than the usual winners in this category. The ABCs of Book Banning comes from Sheila Nevins who just ended her stellar 5-year run at MTV Documentary Films. I'd give that one the edge.

Win the Best Live Action Short Film category

The category is traditionally a venue for new visionaries to get seen, but unless there is a backlash to the pros playing here, there is a likely winner. The Wonderful Story of Henry Sugar is Wes Anderson's eighth nomination and likely his first win. Mathwise, getting seen helps in this category. This one is super accessible, on Netflix.

Win the show’s running-time tiebreaker.

In 2002, the show ran for four hours and 23 minutes. It's been trending down ever since, and this year it starts an hour early with hopes to finish closer to Super Bowl closure time. This year 

Here are the timings for the past ten years:
2009: 3 hours, 30 minutes
2010: 3 hours, 37 minutes
2011: 3 hours, 15 minutes
2012: 3 hours, 14 minutes
2013: 3 hours, 35 minutes
2014: 3 hours, 30 minutes
2015: 3 hours, 43 minutes
2016: 3 hours, 37 minutes
2017: 3 hours, 49 minutes
2018: 3 hours, 53 minutes
2019: 3 hours, 23 minutes
2020: 3 hours, 36 minutes

2021: 3 hours, 19 minutes

2022: 3 hours, 40 minutes

2023: 3 hours, 37 minutes

Win the Best Picture category

Since the preferential voting system was added, all the old stats don't matter. 

Oppenheimer won BAFTA. Oppenheimer and Poor Things won the Golden Globe and Oppenheimer won the Critics Choice, whatever to all that.

However, the PGA has a preferential voting ballot. While they are a conservative group, they chose Oppenheimer and you should too.

In the 28 years in which SAG, the PGA and DGA have all presented their top honors, only one film (Apollo 13 in 1995) has won all three but then lost the Best Picture Oscar.

The math says it all. The Oscar goes to Oppenheimer.

Good luck with your Oscars pool everyone!