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The writer and director Steve McQueen narrates a sequence from his film set in London during World War II.
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Mekado Murphy
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The writer and director Steve McQueen narrates a sequence from his film set in London during World War II.
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Mekado Murphy
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Photo: Vulture; Photos: Sony Pictures Classics/Everett Collection, Apple TV+
Saoirse Ronan has grown up on the Oscars stage. The Irish actress earned her first Academy Award nomination at the age of 13 for Atonement. Since then she’s received three more, an enviable record for an actor who just turned 30 this year. While you mightn’t call her overdue, exactly, she’s certainly paid her dues. Given the Academy’s established affinity for her, it feels like only a matter of time before we see Ronan stride triumphantly to the Oscars stage.
All it takes is the right film and the right year, and as luck would have it, this fall brings two different Ronan projects in the awards conversation. In Nora Fingscheidt’s The Outrun, Ronan stars as an alcoholic piecing her life back together on the remote Orkney Islands, while in Steve McQueen’s Blitz, she has a supporting role as a mother missing her lost son in World War II London. If we’re talking Oscar, which one is the better bet?
Let’s start with The Outrun, which opened in limited release last Friday. It’s a passion project for Ronan, who produced the film alongside husband Jack Lowden, and she’s been campaigning hard for it, working the late-night circuit and stepping up her step-and-repeat game. Reviews for the addiction drama have been positive if measured, but awards-wise, this intimate, interior film will only go as far as Ronan’s performance takes it. She’s in every scene, and frequently the only person in the frame. It’s a display more of presence than of range, though the subject matter does allow her space to throw off her usual gentility and go a little wild. (Speaking of, 2014’s Wild would not be a bad comp for this movie.)
Even by the standards of this up-in-the-air year, estimations of Ronan’s Best Actress chances are all over the map. This week, Next Best Picture’s Matt Neglia told me he thinks she is going to win; on GoldDerby, pundits like Joyce Eng and Anne Thompson have her missing out on a nomination entirely. If she gets in for The Outrun, Ronan will almost certainly be her movie’s sole nominee. Still, that’s not always a dealbreaker, especially in Best Actress. Just ask Julianne Moore, who won her long-awaited trophy in 2015 for Still Alice. Both that film and The Outrun were released by Sony Pictures Classics, a distributor with a history of helping little films punch above their weight in the awards race. (Though SPC also has Pedro Almodóvar’s The Room Next Door, whose leads Moore and Tilda Swinton are both competing with Ronan for spots in Best Actress.)
The Outrun is one of the smaller films in this year’s race. Steve McQueen’s Blitz, which just debuted at the London Film Festival, is one of the biggest. It’s a World War II picaresque following one boy’s journey through a bomb-strewn hellscape to return home to his mum, played by Ronan. Though it’s a more down-the-middle effort than McQueen fans probably expected, Blitz’s pedigree, subject matter, and lavish production value should make it a contender all across the ballot.
In her first major maternal role, Ronan is sequestered in her own story line for much of the film, and early consensus among those I’ve spoken to is that her segments are a little less gripping. However, McQueen gives her plenty of awards-friendly notes to play. After the film’s New York Film Festival premiere on Thursday, one critic compared her part to prognosticator Allan Lichtman’s “13 Keys to the White House.” Call it the 13 Keys to an Oscar Nom: She’s got a musical number, a scene in which she witnesses racism, and multiple scenes of anguish over being separated from her son.
Supporting Actress is wide open this year, and with Blitz looking like a solid contender, there’s plenty of room for Ronan to sidle in. However, that race feels like it has a locked-in top two in Emilia Pérez’s Zoe Saldana and The Piano Lesson’s Danielle Deadwyler, both of whom are essentially co-leads of their films. Assuming Saldana, the current front-runner, stays in Supporting (Gregory Ellwood thinks voters could bump her up to lead), a true supporting player like Ronan will have a lot of ground to make up.
Best Actress, by contrast, is a harder category, but it’s also a more unsettled category, since the two apparent favorites, Anora’s Mikey Madison and Emilia Pérez’s Karla Sofía Gascón, are newcomers who each carry major question marks. The Academy has been trending away from career wins lately, but they still do happen. (See: Jessica Chastain for The Eyes of Tammy Faye.) Could there be an opening here for a known quantity with an appealing narrative? There’s plenty left to be determined, but for now, here’s how I see it: If you’re betting Ronan to get nominated, go with Blitz; if you’re betting on the win, put your money on The Outrun.
Every week between now and January 17, when the nominations for the Academy Awards are announced, Vulture will consult its crystal ball to determine the changing fortunes in this year’s Oscars race. In our “Oscar Futures” column, we’ll let you in on insider gossip, parse brand-new developments, and track industry buzz to figure out who’s up, who’s down, and who’s currently leading the race for a coveted Oscar nomination.
British director Steve McQueen is famed for his sharpness, but the most surprising thing about his first feature since Widows is that it turns out to be a straight-down-the-middle WWII epic, earning comparisons to Belfast and the work of Charles Dickens. Blitz often has the feel of an old war movie — with all the sincerity and occasional heavy-handedness that implies — re-made to center the women, immigrants, and socialists often left out of the historical record. While the ambition is laudable, American critics are mixed on the execution. David Ehrlich calls Blitz “a patchwork of episodes, several of them staged as only McQueen would, that fail to equal the sum of their parts.” (The Brits are more effusive.) Sniffs aside, this is Apple’s big Oscar bet, and I wouldn’t be surprised if Blitz turns out to be a nice, filling pork pie for the Academy’s meat-and-potatoes voters.
After playing well at Telluride and Toronto, the awards-season equivalent of killing at dress rehearsal, Jason Reitman’s SNL tick-tock goes wide this weekend. There are places to be had in the Best Picture ten, but if this purported crowd-pleaser wants to land a spot, it had better start pleasing some crowds. (Especially as Reitman can’t count on love from critics, some of whom have issued brutal takedowns.) Per-theater averages in limited release were promising. Were Saturday Night to best the cratering Joker: Folie à Deux this weekend, it might be ready for prime time.
A Real Pain, Anora, Blitz, The Brutalist, Challengers, Conclave, Dune: Part Two, Emilia Pérez, Nickel Boys, Sing Sing
Whatever feelings of disappointment some critics have with Blitz stem from the sense it is the least distinctive film McQueen has ever made. One reviewer compares it to “Steven Spielberg trying to make a Terence Davies film.” Still, Blitz is undoubtedly impressive on a technical level, with a handful of harrowing set pieces that gain all the more power for featuring minimal CGI. While it may not be as radical as his past efforts, the film’s clear ambition and thematic heft should put the British auteur in the mix for his second directing nod.
The knives came out for Phillips this week. In the wake of the Joker sequel’s historically poor opening — it’s on track to gross less in its entire run than the original made its opening weekend — the trades lit up with anonymous reports placing blame for the misfire entirely at the director’s feet. At least Phillips will always have that directing nomination for Joker, for which he beat out Greta Gerwig, Noah Baumbach, Pedro Almodóvar, and Céline Sciamma, among others.
Jacques Audiard, Emilia Pérez; Sean Baker, Anora; Brady Corbet, The Brutalist; Steve McQueen, Blitz; Denis Villeneuve, Dune: Part Two
Who gets the fifth spot in Best Actor? Moreover, until we see what Timmy Chalamet gets up to in A Complete Unknown, who gets the fourth spot? For now I’ll slot in Stan’s surprisingly vulnerable turn as Donald Trump in a biopic that almost never saw the light of day. But with the controversy-laden Apprentice being slagged like a dog, Stan may be a placeholder until this paper-thin category fills out — or until we know the results of the presidential election, upon which his campaign’s fortunes will hinge.
The Osment Rule says that, even if a child actor is the lead of his film, he must be run in Supporting. The Tremblay Corollary states that, in the era of the preferential ballot, kid nominations are a lot rarer than they used to be. Team Blitz is ignoring all this and running pint-sized star Elliott Heffernan in lead. Critics call him “strikingly assured” for a youngster, but if Minari’s Alan Kim and Belfast’s Jude Hill couldn’t come close to getting nominated, it may be a tall task for the lad.
Adrien Brody, The Brutalist; Daniel Craig, Queer; Colman Domingo, Sing Sing; Ralph Feinnes, Conclave; Sebastian Stan, The Apprentice
As a counterpoint to my bullishness on The Outrun, I must also quote from Richard Brody’s dissent. “The movie offers Ronan little chance to develop her character’s emotional life over time,” he argues. “Her expressions are static, literalized, pasted to the screen like decals, and her vocal delivery is subjected to a similar oversimplification.” I’ll simply note that that doesn’t sound un-Oscar-y.
Give this to We Live in Time, the weekend’s other major release: It is the only movie this year in which Florence Pugh plays a celebrity chef named Almut Brühl. John Carney’s romantic drama comes off as Love Story by way of Richard Curtis, with a smidge of Nancy Meyers kitchen envy. Which is to say it’s not exactly an awards movie, though I’m unsure it was ever intended to be. Still, Pugh and co-star Andrew Garfield are being kindly received by critics like Lindsey Bahr, who praises their “quietly affecting performances.”
Karla Sofía Gascón, Emilia Pérez; Marianne Jean-Baptiste, Hard Truths; Angelina Jolie, Maria; Mikey Madison, Anora; Saoirse Ronan, The Outrun
Are we in for a Succession reunion in the Supporting Actor race? While Kieran Culkin earns raves on the festival circuit for A Real Pain, his former castmate is being singled out by critics as the highlight of The Apprentice. As the rasping and whippet-thin Roy Cohn, Scott Tobias says, “Strong has a gift for making a vile man pitiable without turning the dial all the way to sympathetic.” Though the film has been harshly reviewed, the presence of this much-laureled performer adds a jolt of prestige that should offset the pans. The Succession connection helps in other ways: After marking a ballot for Culkin, checking Strong’s box, too, might be a matter of muscle memory for voters.
A police car and a screaming siren, a pneumatic drill and ripped-up concrete, a baby wailing and stray dog howling, the screech of brakes and lamp light blinking — all of them have more screen time in Blitz than the former Jam frontman. I briefly thought Weller’s kindly Cockney grandpa might be the next Ciarán Hinds in Belfast, but I don’t think there’s enough meat there.
Kieran Culkin, A Real Pain; Clarence Maclin, Sing Sing; Guy Pearce, The Brutalist; Jeremy Strong, The Apprentice; Stanley Tucci, Conclave
However they feel about Blitz, critics can’t help themselves from praising Ronan. As Peter Bradshaw enthuses, she “gives a sympathetic and controlled performance in a role that does not allow for much nuance.” With her co-star encumbered by child-labor laws, she should benefit from being the face of the Blitz campaign, a familiar figure who can sell McQueen’s post-Brexit provocations to even the most conservative audience.
The saddest thing about Folie à Deux flopping? We will now be deprived of a classic Lady Gaga Oscar campaign. Gaga sitting next to Marianne Jean-Baptiste at the THR actress roundtable, Gaga attending the Golden Globes in full Harley Quinn drag, Gaga telling reporters she was once visited by the ghost of Judy Garland — it all fades away like tears in the rain.
Danielle Deadwyler, The Piano Lesson; Aunjanue Ellis-Taylor, Nickel Boys; Felicity Jones, The Brutalist; Saoirse Ronan, Blitz; Zoe Saldana, Emilia Pérez
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Nate Jones
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Prepare sugar syrup: Prepare a sugar syrup of at least 1 cup of water and 1 cup of sugar — bring the water to a simmer and stir in the sugar to dissolve; allow to cool.
→ You can play with the ratios of water to sugar. Start with 1 cup of water and 1 cup of sugar, taste the limoncello, and add additional sugar syrup gradually until you reach a flavor you like — up to 4 cups of water with 4 cups of sugar. More water will dilute the alcohol base, making a less alcoholic, milder, and smoother-sipping liqueur. More sugar will make a sweeter limoncello.
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Emma Christensen
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Every time we make vegetable stock, we wonder why we ever bother buying it in the store. It’s so easy! Chop up some vegetables, cover with water, and simmer. Done. You’ll have enough stock to make your soups, casseroles, and pilafs for weeks to come, and all in just a little over an hour.
When making a basic vegetable stock, you want vegetables with neutral, but savory flavors. Some recipes recommend adding garlic and other strong spices, but unless we know how we’re going to be using the broth, we prefer to add those kinds of seasonings when we’re actually making a dish. We also don’t add salt to the stock for the same reason. Onions, carrots, celery and mushrooms are the ideal starter vegetables for stock, but feel free to swap any of these for leeks, tomatoes or parsnips.
We keep a big resealable bag in our freezer where we can throw vegetable odds and ends: vegetables that have wilted beyond saving, the green parts from leeks, trimmings from carrots, and so on. Once this bag gets full, we use the contents to make broth.
Seems contrary to the title but not every vegetables is destined for vegetable stock. Starchy vegetables like potatoes and turnips will make for a gummy, cloudy vegetable stock. Beets overpower their aromatic counterparts. Zucchini and greens beans become bitter when slowly simmered for as long it takes to make this stock.
While vegetable broth is a basic building block of the kitchen it doesn’t have to be boring. Consider adding leftover Parmesan rinds to your vegetable stock. Kombu is powerful addition, mostly for its thickening and umami abilities.
Two ways to add more flavor to your broth are to roast the vegetables beforehand or to let them sweat (start to soften and release their liquids) for a few minutes over the heat before adding the water.
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Emma Christensen
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CHARLOTTE, NC—Taking a new approach to better safeguard their quarterback, the Tampa Bay Buccaneers were reportedly using a protection scheme Sunday that involved their offensive line asking the defense to go easy on Tom Brady while he’s going through some stuff. “We’re always trying to refine things to make things easier for Tom, which is why we’re having left guard Luke Goedeke pull the defensive linemen aside to fill them in on Tom’s marital and family issues before the snap,” said Buccaneers head coach Todd Bowles, adding that he hoped the Carolina Panthers defense would refrain from blitzing Brady after the offensive line told them the sad story of how he’s struggling with heartbreak. “We’ll have the left tackle pick up any linebackers or safeties and let them know that Tom’s really getting it from all sides right now, he’s not sleeping well, and really the last thing he needs is to get sacked on his blind side. We’re hoping that this new offensive scheme will allow Tom to relax in the pocket and clear his head until he works things out at home.” At press time, Bowles was scolding Buccaneers wide receiver Mike Evans for yelling that he was open, reminding him not to bother Brady when the quarterback had so many other things on his plate.
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