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Tag Archive: Sally Hawkins


Merry Christmas!

It’s that time of year again, time to take a look forward at what movies should be on your radar for 2019.  Are you going to see them all?  Heck no.  These are the genre films we think borg readers will want to know about to make their own checklists for the coming year–and they are only the films we know about so far.  We pulled 78 of the hundreds of films that have been finalized or are in varying stages of final production, slated for next year’s movie calendar.

What looks to top the list for most fanboys and fangirls?  The last of the nine films in the Star Wars saga.  Captain Marvel, Avengers: Endgame, and Spider-Man: Far From Home.  Shazam! is DC’s contribution.  Quentin Tarentino returns to movies to direct Once Upon a Time in Hollywood, and Martin Scorcese is back with an all-star cast in The Irishman (on Netflix).  M. Night Shyamalan finishes his dark superhero trilogy with GlassArnold Schwarzenegger and Linda Hamilton return in TerminatorJordan Peele is back with another horror film with Us.

Do you like sequels?  This is your year.  Another Men in Black, X-Men, Shaft, Happy Death Day, Lego Movie, Hellboy, John Wick, Kingsman, Jumanji, The Secret Life of Pets, How to Train Your Dragon, Fast and the Furious, Zombieland, Addams Family, Charlie’s Angels, Godzilla, Shaun the Sheep, Annabelle,and Stephen King’s It and Pet SemataryDisney is trying to get you to move into your local theater with another Toy Story, Aladdin, Dumbo, Frozen, and Lion King–all in one year.  Yep, lots and lots of sequels are coming.

Some films don’t have locked-in release dates yet.  Amazon Prime and Netflix haven’t revealed dates for these 2019 releases:

  • Martin Scorcese’s The Irishman, a film about Jimmy Hoffa starring Robert DeNiro, Al Pacino, Joe Pesci, Harvey Keitel, Ray Romano, and Bobby Cannavale (Netflix)
  • The Kid, a Western biopic with Chris Pratt, Ethan Hawke, Dane DeHaan, and Vincent D’Onofrio (Netflix)
  • The Man Who Killed Hitler Then Bigfoot, starring Sam Elliott (Netflix)
  • 6 Underground, a Michael Bay film starring Ryan Reynolds, Ben Hardy, Dave Franco, and Mélanie Laurent (Netflix)
  • The Last Thing He Wanted, Dee Rees directs Anne Hathaway, Ben Affleck, Willem Dafoe, and Toby Jones; journalist quits newspaper job to become an arms dealer for a covert government agency (Netflix)
  • The Laundromat, Steven Soderbergh directs Meryl Streep, Gary Oldman, Antonio Banderas, James Cromwell, about the Pentagon Papers (Netflix)
  • Radioactive, Rosamund Pike plays Marie Curie, with Anya Taylor-Joy (Amazon)

Some of these films will have revised release dates, or get pushed to 2020.

So grab your calendar and start making your plans–here are the movies you’ll want to see in 2019 (and many you might not):

January

Glass – Superhero, M. Night Shyamalan trilogy part 3, stars Bruce Willis, Samuel L. Jackson, James McAvoy; continues where Unbreakable and Split left off – January 18.

Serenity – Mystery/Thriller, stars Anne Hathaway, Jason Clarke, Djimon Hounsou, Jeremy Strong, Diane Lane; sorry, no relation to Firefly – January 25.

King of Thieves – Heist Comedy, stars Jim Broadbent, Tom Courtenay, Charlie Cox, Michael Gambon, and Ray Winstone – January 25.

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Warner Brothers released a great new trailer for the next Godzilla movie this week–Godzilla: King of the Monsters–and followed up with posters featuring clear images of Godzilla’s three gigantic foes–the “Titans.”  Directed by Michael Dougherty (X-Men 2, Superman Returns, X-Men: Apocalypse), the film stars Millie Bobby Brown, Kyle Chandler, Vera Farmiga, Sally Hawkins, CCH Pounder, David Strathairn, Ken Watanabe, Bradley Whitford, and Ziyi Zhang.

The new story follows a secret agency called Monarch as humanity faces off against the classic monster foes of Godzilla’s past–myths in the new story, which come to life, meaning certain doom for humanity.  Godzilla will face Titans Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah.  These are monsters that first saw the screen in Japanese films more than 50 years ago.

Who will win?

  

All of the original monsters can be seen beginning Saturday, December 22, on the El Rey Network’s Kaiju Christmas Marathon, screening 13 classic films including all four of these Titans.

Take a look at the new posters and these trailers for the film Godzilla: King of the Monsters:

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Review by C.J. Bunce

Guillermo del Toro’s At Home With Monsters was an eye-opening look at the depths to which the renowned fantasy film director has gone to immerse himself in the creative process, revealing images of his own personal collection of the strange, creepy, and unique from scree-used artifacts to oversized recreations of the Universal Monsters that inspired him early on.  The book (reviewed here at borg.com) was a great entryway to prepare readers and audiences for his latest film, The Shape of Water, nominated for thirteen Academy Awards and reviewed earlier here this week.  The latest look into the mind of del Toro explores this movie from its inception to the final filming decisions.  It all can be found in Insight Editions’ new volume The Shape of Water: Creating a Fairy Tale for Troubled Times, by Gina McIntyre.

In a year that saw a failed re-launch of the Universal Studios famed monster movies with the first installment The Mummy (reviewed here), it would be del Toro who brought forth a worthy retelling of sorts of that studio’s Creature from the Black Lagoon.  The idea for a story of an Amphibian Man and Beauty and the Beast story where the creature is united with a mute janitorial worker began in 2011 in a simple conversation.  As time went on del Toro and screenplay co-writer Vanessa Taylor built a story, and del Toro singled out actors for key roles.  First and foremost was Sally Hawkins as lead character Elisa, who oddly enough was writing her own story about a mermaid that didn’t know she was a mermaid.  del Toro and Hawkins began working together at that point.  As with his other films, del Toro creates biography sheets for his characters.  Included in McIntyre’s book are tipped-in pages of some of these biographies, allowing readers and writers to examine how much the actors were given about their roles as backstory.

Along with the genesis of the story, The Shape of Water: Creating a Fairy Tale for Troubled Times examines the creation of the four suits worn by Doug Jones as the creature.  Hawkins, Jones, and co-stars Richard Jenkins, Octavia Spencer, Michael Stuhlbarg, and Michael Shannon, all describe their takes on their roles, their work with del Toro, and their interaction with other performers.  McIntyre includes interviews with del Toro, the key cast and production crew, including insight rarely seen in behind the scenes movie books, like rationale for costume designs, provided here by costume designer Luis Sequiera.  del Toro not only significantly backed the production for years financially, he was involved in every key decision in the film.  He kept costs down by in part utilizing the sets for the television series The Strain.  

The book examines the unique color palette that audiences will take away as a hallmark of this film.  A highlight is the discussion of the black and white scene from the film, unthinkably shot in a single day.  Much of the film relied on old-school practical effects, including actual underwater filming with Doug Jones in costume, but del Toro also incorporated digital effects for the more dangerous scenes and clean-up work.  The multi-year process for designing and revising the creature suit from clay to prosthetics, foam, and rubber is well documented in the book.

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Review by C.J. Bunce

With the unique signature of the only director that could pull off a film like The Shape of Water, have no doubt it is worthy of a parade of Oscar recognition.  As for direction The Shape of Water is a triumph for Guillermo del Toro’s sheer bravery in choices.  As for acting it’s the perfect mix of the four top acting tiers: a superb performance in a challenging role by a lead actor and actress, and a superb performance in a challenging role by a supporting actor and actress.  del Toro’s story, too, is novel, soaring and magnificent, even if it may be derivative of many fairy tales, folklore, and past fantastical films.  In fact it’s del Toro’s intelligent reimagining of stories from Cinderella and Beauty and the Beast on a backbone of films like King Kong, Splash, and The Creature from the Black Lagoon that lends some familiarity and authenticity to its story and characters to touch audiences.  Ultimately the finely crafted assemblage is greater than the sum of its parts, forming the stuff of those classic best pictures of the year of decades past.

The idyllic early 1960s is stripped of its patina to a very real and difficult world beyond the happy families as seen in the slick marketing and television shows of the day, at least for the average person trying to find their way.  A mute woman named Elisa (Sally Hawkins) and her co-worker Zelda (Octavia Spencer) work in a quasi-government corporate facility as janitors.  When a Fed named Strickland (Michael Shannon) brings a gilled, man-like creature (Doug Jones) he captured in South America to the facility for study, Elisa covertly befriends it.  When Strickland and his military cronies decide it’s time to vivisect the creature, Elisa enlists a friend in her apartment complex (Richard Jenkins) to try to get the creature to safety, with even Zelda and a lab researcher (Michael Stuhlbarg) joining along in her plan.

The tragedy of Oscar season is the lack of nomination for Doug Jones, the modern Man of a Thousand Faces (and bodysuits), who has played every character in commercials from McDonald’s Mac Tonight to one of the terrifying Gentlemen of Buffy the Vampire Slayer to Marvel’s Silver Surfer, to the star of del Toro’s Pan’s Labyrinth, and ghosts in his Crimson Peak and Abe Sapien in his Hellboy series, and he is currently headlining Star Trek Discovery, again in prosthetics.  It is a truth that no other actor has the experience and physical skill and talent required to perform in the roles he is sought out for, and his “Amphibian Man” in this film is a showcase of his singular grace, elegance, and style.  His understanding of animal movements and reactions is impeccable.  Sally Hawkins, seen in countless performances (a standout in Fingersmith, Layer Cake, Tipping the Velvet, Blue Jasmine, where she was also nominated for an Oscar, and Never Let Me Go, among other films, and even a bit part in Star Wars: The Phantom Menace), perfectly captures a life in silence and a hopeless romantic.  Her piercing stares at Strickland nearly slice him in two.  Academy Award winner Octavia Spencer (The Help, Hidden Figures, Snowpiercer, Medium, The X-Files) plays Zelda for laughs for the most part, and her ramblings about her lazy husband and her support of Elisa are wonderful.  Richard Jenkins (Silverado, Hannah and Her Sisters, The Witches of Eastwick, Wolf, Absolute Power, Into Thin Air, Jack Reacher, Bone Tomahawk, LBJ) takes on a role as neighbor Giles, a part like nothing audiences have seen him play before, a down on his luck ad man, he is boxed in from gaining the love that he seeks.  del Toro makes it possible for each moviegoer to see himself/herself in each of these characters.

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The biggest news of yesterday’s Oscar nominations was in the adapted screenplay category.  Writers Scott Frank, Michael Green, and director James Mangold were nominated for their script for Logan, the film borg.com picked as last year’s best picture in our annual wrap-up last month.  Never before has a comic book superhero story been nominated by the Academy of Motion Picture Arts and Sciences for best screenplay.  The closest was a nomination in the original screenplay category for Brad Bird for The Incredibles, a superhero story not adapted from a comic book property, plus graphic novel adaptations for films History of Violence and American Splendor.  But that puts Logan–an X-Men story starring Wolverine and a film that was the pinnacle of the Marvel franchise–right where it belongs, a film on equal footing with classic screenplay nominees featuring strong character development, including the likes of High Noon, Citizen Kane, Rocky, Butch Cassidy and the Sundance Kid, Shane, The Grapes of Wrath, Sergeant York, and Mr. Smith Goes to Washington.  The writers adapted their story from no specific Marvel Comic series, instead pulling together ideas from several series, citing Craig Kyle’s X-23 series as a key influence.  Unfortunately actors Hugh Jackman and Patrick Stewart did not receive a nomination in the acting categories.

But the progress of Oscar doesn’t stop with Logan.  A creature feature, the supernatural fantasy The Shape of Water took a whopping 13 nominations, including best picture, best director (Guillermo del Toro), and best actress (Sally Hawkins) and supporting actor (Richard Jenkins).  Get Out, which is something more than just a horror genre movie (that also made our top list), is nominated for four Oscars, including three for first-time director Jordan Peele, for best picture, best director, and best screenplay.  That’s one heck of an introduction to Hollywood, and ties Peele for the record of most nominations in a single year (along with Warren Beatty for Heaven Can Wait and James L. Brooks, who went on to win all three categories for Terms of Endearment).   The film’s lead actor Daniel Kaluuya will be a big contender for the top spot in the best actor category.

Another film we loved, the riveting historical drama The Post (sometimes historical dramas get it right), received two nominations, including nods for best picture and actress Meryl Streep‘s compelling performance (her 21st nomination, breaking her own record for most nominated actor of all time), but unfortunately Oscar ignored one of the best Tom Hanks performances of his career and Liz Hannah’s exceptional screenplay.   For one of the four nominations for Star Wars: The Last Jedi, the beloved composer John Williams garnered his 51st Oscar nomination (he’s won five) for best score, besting his own record and hot on the heels of Walt Disney for most nominations ever (Disney was nominated 59 times).  But was this a missed opportunity, when even Williams seemed impressed with himself for the unique work he’d created for his striking soundtrack for The Post?  As he told Variety in a recent interview, “I’ve never done anything quite like it.  There are three or four montages—the press-rolling montage, the extended review of the former presidents, waiting for Justice Black’s decision—with various degrees of intensity, speed and the like.”  In our borg.com review we correctly predicted nominations for best picture and sound for the war genre movie Dunkirk, which was nominated for eight Oscars, including best picture and best director (Christopher Nolan).  Hans Zimmer was nominated for his musical score, which was key to the film’s success.

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Smee as Richard III

Three huzzahs for historical re-enactor Domenic Smee, a 26-year old from England who has become part of the coolest event in non-fiction television in years, revealing that a skeletal deformity may not necessarily result in a disability, and a king may have been equal to the legend that he left behind.

You may recall the September 2012 archaeological dig in a parking lot that resulted in the confirmed find of the bones of King Richard III, who was said to have died bravely during the Wars of the Roses at the Battle of Bosworth Field against Henry Tudor and the Lancasters.  The discovery pulled together nearly every branch of science, and scientists even were able to create a 3D image of the famous king from Shakespeare’s play (“Now is the winter of our discontent made glorious summer by this son of York”).  We at borg.com listed the discovery as the Best Science News of 2013.

King Richard III printed bust

Now scientists have gone even further to get us to the truth behind the legend of this great king of 1485, revealed on Public Television’s Secrets of the Dead series episode “Resurrecting King Richard III.”  We thought the initial story from February 2013 that used DNA from a known distant descendant of the King’s royal line to prove the bones were indeed Richard III’s was incredible enough–the odds of locating a discarded or misplaced body and finding it 500 years later and not only identifying it, but identifying it as a famous king… it’s astronomical.

The bones of Richard III included a very disfigured spine–scoliosis.  Was the legendary story and contemporary accounts accurate?  Could he really have led the battle and fought so well in armor with such a condition?  When a researcher was airing a show in England on the king’s scoliosis, Domenic Smee was watching.  Turns out he has the rare scoliosis the king had, and he volunteered to be tested to see what physical limits the king may have experienced.

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