Sarah Knight Adamson is a member of the Broadcast Film Critics Association and a voting member for the Critics Choice Awards for Movies.

Sarah Knight Adamson and Jessica Aymond are both Members of the Chicago Film Critics Association

Film Rating Code:

★★★★ Outstanding Film- Run, don’t walk to the nearest movie theater.

★★★½ Excellent Film- Highly recommend seeing the film in a movie theater.

★★★ Very Good Film- Recommend seeing the film in a movie theater.

★★½ Good Film- Wait for the DVD, the film is still worth viewing.

★★ Wait for the DVD and proceed with caution.

★½ Wait for the DVD the film has major problems in most areas.

★ Can’t recommend the film.

Alien: Covenant (R) ★★½

Katherine Waterston stars in Alien: Covenant.
Image credit: 20th Century Fox

Alien: Covenant < Prometheus. Yeah, I said it.

I was thoroughly frustrated by Alien: Covenant and was actually mad when I left the theater. Aside from Michael Fassbender in dual roles and the cast itself, there was absolutely nothing new about this sixth installment (and second prequel) of the nearly forty-year-old Alien franchise. I am usually one of those people who never sees a film’s twists coming. With Alien: Covenant, I not only predicted every single thing that was going to happen, but I was also bored out of my mind.

A cool prologue involving trillionaire CEO Peter Weyland (Guy Pearce) and the synthetic from Prometheus, David (Fassbender), gave me hope at the very beginning that Ridley Scott was going to pull off an Alien trifecta (Covenant is the third film he’s directed after the original two). But it was not to be.

We flash forward to ten years after the events of Prometheus and are aboard the Covenant, whose crewmembers are all deep-dozing in pods as they travel on a years-long mission to colonize a distant planet. But their on-board upgraded synthetic, Walter (also Fassbender), gives them a harsh wake-up call after the ship’s systems start going haywire. The captain is killed during this emergency, and the moment we find out who the captain was, I was immediately taken out of the film. All I’ll say is that it’s a well-known, goofy actor whose presence in flashbacks was as a huge distraction and served no purpose other than making the new captain Oram (Billy Crudup) have a weak reason to constantly seem unsure of himself.

Now that the entire crew is awake, they decide to investigate a human transmission coming from a nearby planet and see if that planet is a better bet for colonization than the one they were supposed to reach in seven more years. Spoiler alert: IT’S NOT.

Read more ›

King Arthur: Legend of the Sword (PG-13) ★★½

Charlie Hunnam stars in King Arthur: The Legend of the Sword
Image credit: Warner Bros. Pictures

To take on the legend of Excalibur, Guy Ritchie sticks with his usual love-it-or-hate-it style.

The Knights of the Round Table. The Sword in the Stone. The Lady of the Lake. Merlin. Ah, I just love the King Arthur legend. But I usually do not love director Guy Ritchie’s signature filmmaking style—one infamous for quick cuts, stylized slo-mo scenes, and brutal, fast action sequences heavy on hand-to-hand combat.

So there’s good news and bad news about this latest spin on the Excalibur tale. For some, it will be very bad news that Ritchie (who co-wrote King Arthur: The Legend of the Sword with Joby Harold and Lionel Wigram) stays in his lane with this film; if you didn’t enjoy the look and pace and overall vibe of other Ritchie movies, such as Snatch or Sherlock Holmes, then you might feel that his often jarring and visually exhausting style could overpower the strong performances from a great cast.

The good news is that if—like me—you love everything having to do with Arthurian mythology, you’ll likely be able to tolerate Ritchie’s dramatic flair and will appreciate a fresh look at the epic story.

In fact, there are parts where the film actually benefits from the crackling pace—the first being near the beginning, where we’re treated to a montage that shows Arthur growing up on the streets of Londinium, after having been pushed down the river in a boat as a toddler by his soon-to-be-murdered father Uther (Eric Bana). We later see how the grown Arthur (Charlie Hunnam) accumulated his group of friends—including Bedivere (Djimon Hounsou) and Goosefat Bill (Game of Thrones fan favorite Aidan Gillen)—who will eventually back him in his fight against his power-hungry uncle, Vortigern (Jude Law, at his slimiest). Read more ›

Snatched (R) ★★★

Radio Review will air on H360 Saturday nights, ✔️ out a station near you! The podcast will post after the review airs.

Happy Mother’s Day Weekend! Here’s my quick take on the film:

I laughed the entire 90 minutes of the film. Amy Schumer and Goldie Hawn are both funny, but the supporting cast; Wanda Sykes, Joan Cusack and Ike Barinholtz (who plays the paranoid brother) are hysterical. The Mom and Daughter are held captive for like…2 minutes, and the rest of the film is slapstick comedy. It did remind me of the shenanigans in the “The Hangover Part 2” similar to the guys running around in Thailand except no fingers were cut off…in Ecuador, Amy has a disgusting tapeworm that is hand extracted, and a bad guy gets stabbed with a harpoon. I also loved seeing Goldie Hawn back on the big screen, even with a somewhat compromised performance…she took the back seat in this film.

Sarah Knight Adamson© May 12, 2017

King Arthur: Legend of the Sword (PG-13) ★★½

Charlie Hunnum, King Arthur and Jude Law star as rivals for the crown.

Radio Reviews air on H360 Radio Network on Saturday nights, ✔️ out a station near you!             The podcast will post after the review airs.

 

The Circle (PG-13) ★½

Emma Watson stars in ‘The Circle.’ Photo Credit: STX Entertainment, EuropaCorp

Click Here to listen to Sarah Knight Adamson’s Hollywood 360 Radio Podcast:

The Lost City Of Z (PG-13) ★★★½

‘The Lost City of Z’ stars Charlie Hunnam as explorer Percy Fawett.


Click Here to listen to Sarah Knight Adamson’s Hollywood 360 Radio Podcast:

Guardians of the Galaxy Vol. 2 (PG-13) ★★★

Chris Pratt as Peter Quill/Star-Lord
Photo credit: Walt Disney Pictures

More of the same, but that’s not necessarily a bad thing.

It’s 44 degrees in Chicago as I write this, but make no mistake—summer is here. I know this because Guardians of the Galaxy Vol. 2 hits theaters today and meets all of the “summer blockbuster” criteria: it has a huge budget, is part of a mega-franchise that has already announced another chapter, boasts an A-list cast and lots of CGI and action sequences, and has been dominating every marketing channel for quite some time. (I’m pretty sure Chris Pratt has cloned himself because he is everywhere.)

So the biggest question on everyone’s minds is not whether the film will earn a gajillion dollars, but rather whether it lives up to its joyful (but in a sarcastic way) 2014 predecessor, whose success was by no means a sure thing since it hinged upon the masses caring about comic book characters who don’t have ‘-man’ at the end of their names.

The answer is that Vol. 2 almost lives up to the hype, and the biggest fans of the franchise will likely love it just as much as the first film. Since the whole gang is back and once again led by Peter Quill/Star-Lord (Pratt), you can expect more of the original’s near-constant bickering and one-liners, literally colorful characters and can-you-top-this action. Gamora (Zoe Saldana) is still bright green, is still the smartest one of the group and is still in denial of the “unspoken thing” she has with Quill. Rocket (voiced by Bradley Cooper) is still treating us to the inventive ways he can come up with to dispatch bad guys—and still has a chip on his shoulder. Drax (Dave Bautista) still has no filter and provides even more of the laughs this time around. And Baby Groot (voiced by Vin Diesel) is still as ridiculously cute as when we last saw him. His childlike naiveté is the source of some of the funniest scenes, from the opening battle sequence, where Groot grooves obliviously to ELO’s Mr. Blue Sky, to Rocket’s random search for tape near the end of the film (which is Groot-related, but I won’t spoil it), to the best of the five (yes, really) post-credit scenes.

Read more ›

The Fate of the Furious (PG-13) ★★★

‘The Fate of the Furious’ Photo Credit: Universal Studios

Click Here to listen to Sarah Knight Adamson’s Hollywood 360 Radio Podcast:

The Zookeeper’s Wife (R) ★★★

Jessica Chastain stars in ‘The ZooKeeper’s Wife’ Photo Credit: Focus Features

Click Here to listen to Sarah Knight Adamson’s Hollywood 360 Radio Podcast:

Colossal (R) ★★★ Radio Podcast

Anne Hathaway stars in Colossal
Image credit: NEON

Click Here to listen to Sarah Knight Adamson’s Hollywood 360 Radio Podcast:

Colossal (R) ★★★½

Anne Hathaway stars in Colossal
Image credit: NEON

You’ve probably never seen a movie quite like this.

I adored Colossal. It’s my favorite film of 2017 so far. I want to campaign for it at every theater across the country. I want to shake people standing in line to buy tickets for [INSERT LATEST BIG-BUDGET SEQUEL HERE] and shout, “No! Don’t give those guys your hard-earned money! Go see this unbelievable, uncategorizable indie instead—you can thank me later!”

Coming to us from new studio NEON and Spanish writer/director Nacho Vigalondo is the story of Gloria (Anne Hathaway), an aimless alcoholic mess whose boyfriend Tim (Dan Stevens) finally gets fed up with her hard-partying ways and lack of ambition and kicks her out of his Manhattan apartment. So Gloria heads home and reconnects with childhood friend Oscar (Jason Sudeikis), who gives her a job at his bar.

As Gloria tries to get her life together and hold down her new waitressing gig, an otherworldly terror begins to wreak havoc halfway around the world in Seoul. A gigantic monster is trampling citizens and knocking over skyscrapers, and with each new attack, Gloria starts realizing she may somehow be connected to the beast’s actions.

Read more ›

Gifted (PG-13) ★★★½

Mckenna Grace as “Mary Adler” and Chris Evans as “Frank Adler” in the film GIFTED. Photo by Wilson Webb. © 2016 Twentieth Century Fox Film Corporation All Rights Reserved.

Click Here to listen to Sarah Knight Adamson’s Hollywood 360 Radio Podcast:

Life (R) ★★½

Ryan Reynolds as Rory Adams in Life
Photo credit: Columbia Pictures

A decent but forgettable thriller that adds nothing new to the Doomed Space Crew genre.

Are you a space scientist?

I’ll assume you’re not and proceed to ask you this: “Not being a space scientist, do you nevertheless have an opinion as to whether it would be a good idea to mess with a newly discovered life form from Mars that you’ve brought aboard your ship that’s growing at an unbelievable pace and, as one of your very smart crew members observes, is ‘all muscle, all brain, all eye?’” What’s that? You would NOT think that poking, prodding and otherwise annoying such a creature would be a good idea? OK. Then we’re on the same page.

One of the biggest flaws in Swedish director Daniel Espinosa’s (Safe House) Life, which follows what happens to the crew of the International Space Station after they discover the first evidence of extraterrestrial beings, is that lead biologist Hugh (Ariyon Bakare) seems to immediately throw all common sense out of the window and get emotionally attached to the thing they’ve brought on board, despite really REALLY glaring warning signs that the alien is highly intelligent. At least other people, such as Ryan Reynold’s wisecracking space mechanic Rory, attempt to talk some sense into Hugh. Olga Dihovichnaya’s Russian cosmonaut Katerina is another who stays level-headed when others lose it.

Read more ›

Beauty and the Beast (PG) ★★★½

Emma Watson as Belle in Beauty and the Beast
Photo credit: Disney

This live-action remake may not be necessary, but it’s still a lot of fun.

I usually try to review remakes (or prequels or sequels, for that matter) on their own merit as standalone films, but it’s impossible for me to do so with Disney’s live-action remake of its 1991 animated take on Beauty and the Beast. I’ve had a 26-year love affair with that film: I’ve seen the stage version and the Disney Hollywood Studios version in Orlando, I have the DVD, I have Belle-themed dishes (that my 18-month-old daughter uses now, I swear) . . . and though I have no idea how many times I’ve actually watched the movie, it’s enough that I know every single word by heart.

You know the story, too, right? The Beast (Dan Stevens) was once a spoiled prince who was mean to an enchantress, and she got her revenge by turning him into a big hairy creature—and all of his staff into various objects. They’ll only be returned to their original forms if the Beast learns to love (and earn someone else’s love in return) before the final petal of an enchanted rose falls. Belle (Emma Watson) is from a nearby village and is eventually held prisoner in the Beast’s (Dan Stevens) castle after bargaining with him to let her father (Kevin Kline) go. The narcissistic Gaston (Luke Evans) is hell-bent on marrying Belle, and thinks if he can kill the Beast and rescue Belle, she won’t be able to refuse his proposal.

I’m happy to say that my knee-jerk reaction to this remake was positive. I loved seeing the story brought to life, I loved singing along again, and I was relieved that director Bill Condon (Dreamgirls, Chicago) didn’t ruin my memories of the “original” (I know the 1991 version isn’t really the original, but you get what I mean). But upon further reflection, I’m not sure how much of that reaction was due to the fact that I could still recite almost all of the film in my head (much of the dialogue is the same), that I will always love its songs (except for the new ones, which added nothing), and that Condon knows his way around a lavish musical. Beauty and the Beast looks spectacular—it’s gorgeous from beginning to end, whether Belle is belting out her desire for adventure in “the great wide somewhere” from atop a mountain, or being charmed by the many creatures in the Beast’s opulent castle.

Read more ›

T2: Trainspotting (R) ★★★½

The Boys are Back!

Is revisiting the zaniness of Trainspotting (1996) 20 years later worth the trip? (Pun intended.) I guess if you’re wondering if Renton, Sick Boy, Spud, or Begbie made the decision to “choose life,” then yes− checking in with these wacky, cultish characters will totally be a rewarding experience. It’s especially worth the trip if all of the same players are back, including the esteemed British director, Danny Boyle, and in this case, yep–homerun−all are back in T2’s lively sequel. You can only imagine my elation when I discovered I’d be in London in February, a full eight weeks before the opening here in the USA. I viewed the film on my birthday, February 11, at the Empire Theater in Leicester Square, where the film opened on January 19. Yes, it was an excellent day.

Empire Theater, Leicester Square London, England

Empire Theater, Leicester Square London, England

Being a huge fan myself of the original film, I was extremely happy about the sequel. However, how does one follow a film that so creatively defined the essence of the Brit-Pop “20-somethings generation” or, in this case, the “Peter Pan 20-somethings”? Boyle’s unconventional sharp lens gave us a wild, frantic ride by using the music of the time, a script driven by rebellious ideology, and one with hardcore drug use as an underlying theme, no less. Seriously, if any film warrants a “stand alone” status, unquestionably, Trainspotting fits the bill.

The Empire Theater in London Leicester Square. Beautiful! Sarah Knight Adamson 2017

Edinburgh does remain the setting in T2 (as it should), and it should also be noted that in 2004, Trainspotting was voted the best Scottish film of all time in a public poll. The film is ranked 10th by the British Film Institute (BFI) in the Top 100 British Films of all time. An impressive legacy indeed; it even demoted the inspirational Chariots of Fire (1986), which is best known for its opening scene of Olympic hopefuls running on the Scottish coastline of St. Andrews; the conditions are arduous, with wet sand and bare feet as waves break. Vangelis’ famous Academy Award-winning score “Tides” plays in the background as the runners glide in slow motion. In contrast, Trainspotting’s opening scene includes frenzied running at hyper-speed down Princess Street in Edinburgh by Ewan McGregor (Renton) and Ewen Bremner (Spud) while being chased by security guards just after robbing John Menzies Bookstore while Iggy Pop’s “Lust for Life” blares on.

T2’s opening scene views Renton running again, but this time on a treadmill in Amsterdam. Evidently, he’s surrendered to “life,” as he’s chosen to run artificially. Within minutes, in a hysterical scene, he clumsily falls off. There’s a re-visit to the original chase scene by Renton, and just like that, we are off to the races again. Read more ›

Kong: Skull Island (PG-13) ★★★

All is not what it seems on Skull Island.
Photo credit: Warner Bros.

Kong: Skull Island is a blast.

Almost exactly a year ago, my husband and I ran around the Islands of Adventure theme park in Orlando. We passed by a large barricaded area surrounded by high fences and halfway covered by tarp; signs informed us that it was the future site of the Skull Island: Reign of Kong attraction. I remember thinking, “Hmm, they’re making a huuuuuge bet on a movie that doesn’t even seem like it’ll be a sure-fire hit.”

I don’t know if Kong: Skull Island will do well enough at the box office to justify its $185-million-plus production budget on top of a dedicated park attraction, but what I do know is that I went into the film pretty skeptical . . . and came out feeling like the Summer 2017 film season had just kicked off three months early. It’s directed by Jordan Vogt-Roberts, who is THE COOLEST (especially because he’s come to the Chicago Critics Film Festival twice, first for his wonderful 2013 indie The Kings of Summer and then for his hilarious 2014 documentary Nick Offerman: American Ham), but hadn’t ever worked on something of this scale, so I hoped against hope he could pull it off. Now we can count him as part of the growing trend of celebrated indie directors making the successful leap to tentpoles, along with others like Colin Trevorrow (Safety Not Guaranteed (one of my all-time favorites) to Jurassic World) and Gareth Edwards (Monsters, to Godzilla, to Rogue One). Kong is the definition of a great “popcorn movie”: an A-list cast, a familiar franchise, crazy action sequences, a huge budget that supports an exotic location and top-notch effects (which include tons of explosions, of course), a rockin’ soundtrack, nothing too deep to ponder over story-wise, and a couple of excellent one-liners thrown in for good measure.

I’m tempted to stop my review right there and be like, “Just go see it, you know the plot doesn’t even matter.” But I will carry on for those of you who remain as skeptical as I was.

Read more ›

Table 19 (PG-13) ★★

‘Table 19″ stars Anna Kendrick, Craig Robinson, June Squibb, Lisa Kudrow, Stephen Merchant and Renzo Eckberg. Photo Credit: Fox Searchlight.

Table This Film…For Good

Have you ever attended a wedding and ended up wanting to crawl into a hole because you were seated at a table with complete strangers? Despite an uncomfortable start, these situations often result in hilarious stories. Table 19, the comedy-drama written and directed by Jeffrey Blitz, banks on this situation being funny enough to sustain a movie. Although Table 19 is plated with potential, can it deliver the goods?

The film opens with Eloise (Anna Kendrick, Mike and Dave Need Wedding Dates, 2016) receiving a wedding invitation, which sparks a variety of emotions for her. One minute Eloise is vindictive and the next she’s sobbing. After much internal debate, Eloise draws an “x” on the RSVP card for yes, then crosses it out, then starts burning it and finally sends the half burnt piece of cardstock in the mail. 

Through an entertaining montage, we’re introduced to a number of other wedding guests including: Jerry and Bina (Craig Robinson, Sausage Party, 2016; Lisa Kudrow, The Girl on the Train, 2016) a married couple that seem to have lost their passion, Tony (Rezno Eckberg, Grand Budapest Hotel, 2014) a socially awkward teenager who is unlucky in the dating world, Walter (Stephen Merchant, Logan, 2017) a distant cousin who was recently released from prison and Jo Flanagan (June Squibb, Other People, 2016) the bride’s childhood babysitter. Although they all react differently to the invite, they are all surprised to be invited and respond ‘yes.’ You’re likely to correctly predict what’s to come… Read more ›

Logan (R) ★★★½

Hugh Jackman stars as Logan/Wolverine in Logan. Photo Credit: Ben Rothstein.

Logan is the tenth X-Men movie . . . and might just be the best.

When I review a film from any franchise that has what might be described as “rabid fans”—be it Star Wars, Lord of the Rings, Harry Potter, or anything from the Marvel or DC universes—I feel the need to confess my level of fandom up front so that readers know where I’m coming from. In Logan’s case, I need to talk about where I stand on both X-Men and an entire genre: Westerns. The truth is that I’ve never been that into X-Men films. I’ve enjoyed most of them (I even liked Apocalypse more than most people, it seems), but I don’t get excited for them in the way I do about a new Star Wars installment, and I pretty much forget about them until the next one comes out. And Westerns have never been my thing. But the weird truth is that Logan could be described as director James Mangold’s attempt at an X-Men Western . . . and the even weirder thing is that it works fantastically.

The year is 2029, and Logan/Wolverine (Hugh Jackman) is some sort of Uber-like limousine driver. He’s bitter, grumpy, usually drunk, and also appears to be popping pain pills as his regenerative healing ability is failing and his leaking Adamantium skeleton is now slowly killing him. But his claws still work, and we get up-close and brutal proof of that in the opening scene, which sets the tone for the rest of the film. And that tone is dark, dark, dark. To the point where I was totally stunned at certain parts, thinking, “Wow, did they really need to do that?” So in case you’re wondering: no, don’t bring your kids.

Read more ›

Oscar Blog-Part 4 Best Documentary, Best Original Screenplay, Best Visual Effects, Best Makeup & Hairstyling, Best Original Score, Best Original Song

Sarah Knight Adamson and Jessica DeLong Oscar Night 2014

Oscar Blog Part 4-Final Oscar Blog!

Wow, Oscar weekend 2017 is here! We are very excited over here at Sarah’s Backstage Pass, as this is a huge weekend for us! We love viewing the Academy Awards Show and especially love seeing it on the ‘Big Screen’ at the annual Variety the Children’s Charity viewing party.

We are in our 9th year emceeing and the 12th year of the event at Hollywood Blvd. Cinema. Come on out and join us as in Woodridge, IL on Sunday, February 26.  We are also excited to have Carmelo Chimera from Chimera Comics hosting right along with us. He’ll be testing your movie trivia and giving away prices. As always, our Fashion Police will be out in full force, checking out the glitz and glam attire.

Wait a minute…we also have a very special guest attending the Variety Charity Viewing Party Event…our own Chicagoland film star, Hayden Rolence the voice of Nemo in “Finding Dory” will be in attendance.

Sarah-Knight-Adamson and Hayden Rolence the voice of Nemo. June 2016

* BEST DOCUMENTARY O. J.: Made in America

Nominees: Fire at Sea, I Am Not Your Negro, Life, Animated, O. J.: Made in America, 13th

*BEST ORIGINAL SCREENPLAY Manchester by the Sea

Nominees: Hell or High Water, La La Land, The Lobster, Manchester by the Sea, 20th Century Women

*BEST VISUAL EFFECTS The Jungle Book
Nominees: Deepwater Horizon, Doctor Strange, The Jungle Book, Kubo and the Two Strings, Rogue One: A Star Wars Story

*BEST MAKEUP & HAIRSTYLING Suicide Squad

Nominees: A Man Called Ove, Star Trek Beyond, Suicide Squad

*BEST ORIGINAL SCORE La La Land

Nominees: Jackie, La La Land, Lion, Moonlight, Passengers

*BEST ORIGINAL SONG “City of Stars,” La La Land

Nominees: “Audition (The Fools Who Dream),” La La Land, “Can’t Stop the Feeling,” Trolls, “City of Stars,” La La Land, “The Empty Chair,” Jim: The James Foley Story, “How Far I’ll Go,” Moana

Complete Prediction List Hollywood Blvd. Cinema Oscar Ballot

Sarah Knight Adamson © February 24, 2017

Oscar Blog Part 3-Best Director, Best Original Screenplay, Best Cinematography, Best Production Design, Best Costume Design

Oscar Blog Part 3

*BEST DIRECTOR – Damien Chazelle, La La Land, Kenneth Lonergan, Manchester by the Sea (Should win)
Nominees: Denis Villeneuve, Arrival, Mel Gibson, Hacksaw Ridge, Damien Chazelle, La La Land, Kenneth Lonergan, Manchester by the Sea, Barry Jenkins, Moonlight

Damien Chazelle (La La Land) has an excellent chance of winning as he directed J.K. Simmons’s Oscar-winning role in Whiplash last year for Best Supporting Actor. Whiplash also won Best Editing, which is huge in terms of the over-all quality of a film. To follow-up with La La Land a blockbuster musical set in Hollywood is no small feat.
Regarding best directing, Kenneth Lonergan’s (Manchester by the Sea) characters were spot-on. He has a long, impressive history as an award- winning writer and an exceptional director. The mixing of dark themes with wry humor is not easy, and in Manchester, he’s hit a homerun with all three performances by Casey Affleck, Lucas Hedges, and Michelle Phillips. In this case, I feel strongly that he is the best director, but will probably lose to La La Land.

*BEST ORIGINAL SCREENPLAY- Manchester by the Sea

Nominees: Hell or High Water, La La Land, The Lobster, Manchester by the Sea, 20th Century Women

Writer-director Kenneth Lonergan (You Can Count on Me, 2000) and (Margaret 2011) is no stranger to crafting stories that are chock full of everyday dialog that succeeds in magnifying human nature while finding humor in the smallest of nuances. Those in the film business know that Margaret was held up for five years in court costs and lawyers fees due to differences between the studio and Lonergan’s final cut length. He was in serious financial debt when John Krasinski and Matt Damon, (producer of Manchester By the Sea), went to him with the original idea for Manchester by the Sea, and asked him to write the screenplay. This outstanding script took him three years to write.

*BEST CINEMATOGRAPHY—La La Land, Arrival could be the upset.

Nominees: Arrival, La La Land, Lion, Moonlight, Silence

Arrival is a terrific science fiction thriller that has challenging themes in terms of overall filming. Aliens, spaceships and outer space are always difficult to ‘get-right.’ Arrival has met and surpassed those filming difficulties. Its look is hauntingly beautiful, mysterious, dreamy, terrifying and most importantly believable.

La La Land’s filming needed to create a tribute to old Hollywood musicals yet have a modern look. This was accomplished by having a camera that is repeatedly moving, almost swirling, as it attempts to also mirror the characters inner conflicted psyche. The over-all look of this film is stunningly gorgeous.
My prediction is that La La Land will win.

*BEST COSTUME DESIGN – Fantastic Beasts and Where to Find Them, Jackie could be the upset

Nominees: Allied, Fantastic Beasts and Where to Find Them, Florence Foster Jenkins, Jackie, La La Land

BEST PRODUCTION DESIGN- Fantastic Beasts and Where to Find Them, La La Land could win



Nominees: Arrival, 
Fantastic Beasts and Where to Find Them, 
Hail, Caesar!
, La La Land
, Passengers

Best Costume Design and Best Production Design are two Oscar categories where earning a nomination for both is typically critical to a film’s chances of winning either. The degree of difficulty is very important in production design and costuming. Historical films, fantasy and or science fiction films usually have a greater chance of winning.

My favorite costume design this year was for the film Jackie. I love that Chanel look! The textures of the fabric were even a stand out.

I did love La La Land’s costuming and production design. Emma Stone’s bright yellow dress, set against a midnight blue sky is stunning. Not to mention that is my personal favorite color combination.

To me though, Fantastic Beasts and Where to Find Them is the more difficult film to dress as everything depends on the creativity of the production design and the costuming in terms of visually conveying a fantasy story. The images are the key components here. I’m rooting for this film to win both.

Sarah Knight Adamson© February 22, 2017

Follow Sarah’s Backstage Pass:

Click here for affiliates including Brussels, Belgium.

Hollywood 360
Broadcast Saturday Night
10:06pm-10:25pm CST Reviews
11:06pm-11:14pm CST Interviews

Celebrity Photos & Events