Review: "Can You Ever Forgive Me?"

In 1967, the year of Spencer Tracy’s death, up-and-coming writer Lee Israel broke through with a devastatingly great profile on Katharine Hepburn, published in Esquire. Over the following two decades, Israel penned a trio of celebrity biographies, one of which, Kilgallen (a portrait of journalist and game show panelist Dorothy Kilgallen), was lauded as among the finest bios of the 1980s.

By the 1990s, however, her past works proved long forgotten, as Israel found herself earning attention not for her biographies or countless magazine articles but rather her recent criminal activities.

Director Marielle Heller’s Can You Ever Forgive Me?, based on Israel’s eponymous memoirs, opens on Israel (Melissa McCarthy) who, in 1991, is struggling to make ends meet, months behind on her rent and devastated that she cannot afford medical treatment for her beloved cat. Israel is desperate for an advance on her latest project, a biography of Fanny Brice, but her agent (the formidable Jane Curtin) cannot make that happen, nor does she terribly want to. The irksome, surly Israel has burned bridge after bridge in recent years and has no industry allies to speak of.

At last, Israel finds a companion in Jack Hock (Richard E. Grant), a vivacious grifter who shares in her disdain for society and dependency on the bottle. Hock isn’t the least bit shaken when Israel presents her grand scheme to bring home that elusive dough - she is going to earn a living fabricating signed personal letters from deceased, high-profile writers, from Brice to Noel Coward to Dorothy Parker. Israel finds fleeting success but, when suspicions are raised around her documents, Hock steps in as a partner in crime to sell them on her behalf. With the FBI on their trail, however, is it inevitable that Judgment Day lurks on the horizon.

With a sparkling screenplay from Jeff Whitty and the reliably amazing Nicole Holofcener, and led by a pair of actors in career-best form, wholeheartedly committed to the material, Can You Ever Forgive Me? ultimately emerges one of the year’s very best pictures.

McCarthy and Grant have a dazzling rapport, with each going to town on the comic and dramatic opportunities presented to them. Not to be overlooked is the rest of this splendid ensemble cast, including Curtin (who slays in her two scenes), Anna Deavere Smith (superb as exasperated ex) and particularly Dolly Wells, warm and perceptive as Anna, a book shop owner who takes a liking to Israel. A dinner between Anna and Israel proves one of the film’s most absorbing and affecting scenes, in a film full of them.

Can You Ever Forgive Me? will be richly deserving of every accolade it inevitably earns for McCarthy and Grant - but I sure hope they aren’t the picture’s lone recognition this awards season.

A

Review: "First Man"

A sense of deja vu came over me throughout First Man, director Damien Chazelle’s latest collaboration with leading man Ryan Gosling.

Two years ago, I was thoroughly enchanted by Gosling’s Oscar-nominated turn in Chazelle’s La La Land, a film which, despite my affection for its actors and overall look and feel, left me rather cold. An absorbing love story and Chazelle’s palpable affection for movie musicals aside, I never felt it quite got off the ground, nor, perhaps most egregious of all, did it sport a terribly memorable soundtrack.

Fast-forward to the present awards season and, once again, I am head over heels for Gosling - for my money, First Man marks career-best work and should catapult him right toward the top in the race for Best Actor - and decidedly less enamored with the proceedings around him.

This isn’t to say First Man is a bad picture but, after being spoiled in recent years by the dazzling likes of Gravity and Hidden Figures, it marks a surprisingly ho-hum endeavor.

Gosling portrays Neil Armstrong, the legendary American astronaut who, as you may have heard, made history in 1969 as the first person to walk on the moon. First Man opens on Armstrong eight years prior to that awe-inspiring event as the test pilot finds himself on a streak of aerodynamic calamities. Colleagues are concerned he is distracted, which is indeed the case - he and wife Janet (Claire Foy) are devastated by the failing health of young daughter Karen, who ultimately succumbs to a brain tumor.

Overwhelmed with grief, Armstrong dives further into work, applying for NASA’s Project Gemini. Accepted into the program, the Armstrongs join other astronaut families in moving out to Houston. With the Soviets making progress in their spacecraft efforts, Armstrong squarely focuses on his training and, in 1966, is named commander of the aborted Gemini 8 mission. Toward the close of the decade, Armstrong is again called upon to steer the ship, this time as commander of Apollo 11. The rest, of course, is history.

First Man is at once refreshingly unsentimental and curiously uninspiring.

Gosling’s restrained portrayal of Armstrong is brimming with melancholy and deeply affecting - he keeps the picture absorbing even while Josh Singer’s screenplay proves a colossal bore. Less successful is Foy, a usually marvelous actress who hits only familiar notes as Armstrong’s fretful wife. At least Foy has some modest meat to chew on, however - the rest of the cast is uniformly underused.

From a technical perspective, First Man marks a grand achievement in sound mixing and editing, with Chazelle doing a fine, if often workmanlike job staging the mission sequences. What is ultimately, stunningly missing from the picture is any sense of awe, that intense feeling of wonderment that swept the world on July 20, 1969.

First Man marks a triumph for its leading man but otherwise doesn’t much soar.

B

Review: "Halloween"

Michael Myers, it’s so nice to have you back where you belong. You may be in your sexagenarian years, yet you continue to bash in brains and slice and dice horny teenagers with masterful precision. It’s just too bad the picture around you this time doesn’t operate at your same commanding level.

I am a Halloween nut, through and through. Not only do I of course worship John Carpenter’s 1978 original - both among the finest pictures of its decade and greatest horror films of all-time - I’m even quite taken with Halloween II and Halloween: H20. Hell, throw Halloween 4: The Return of Michael Myers on television and I’ll cancel all of my prior commitments!

So, you can imagine I was quite surprised and more than a little heartbroken as I found myself not so enamored with the latest entry in the franchise, David Gordon Green’s Halloween - a follow-up to the Carpenter original that opts to pretend all prior sequels never came to fruition. Perhaps most key of all is it erases that pesky development, which first arouse in Halloween II, that Michael and Jamie Lee Curtis’ Laurie Strode were siblings. This is something I was completely down for, yet Green’s Halloween doesn’t even satisfy at the same levels of Halloween II or H20.

In the dismal Halloween: Resurrection, Michael found himself confronted by the craze over reality television. This time around, it’s true-crime podcasting, presented in the form of a pair of British journalists (Jefferson Hall and Rhian Rees) who, 40 years following Michael’s murderous rampage in the first Halloween, pay the psychopath a visit at Smith’s Grove Sanitarium. You see, Michael has been imprisoned there since his capture by Dr. Loomis (RIP Donald Pleasance). Now, with Dr. Loomis having passed on, he’s being treated by another eccentric doc, Ranbir Sartain (Haluk Bilginer).

After egging Michael on, both showing him his former mask and bringing up Laurie, the podcasters pay a visit to none other than the sole survivor herself. Laurie has spent the past 40 years battling PTSD and preparing herself and her family for what she sees as Michael’s inevitable return. She’s been married and divorced twice and lost custody of her daughter Karen (Judy Greer), who now has a teenage daughter of her own, Allyson (Andi Matichak).

Laurie, no surprise, hasn’t the faintest interest in cooperating with the Brits. She’s far more focused on her old foe, who conveniently is being transferred to a new facility on the eve of Halloween. It should come as scant surprise that Michael of course manages an escape, gets his hands on his old mask and greets Haddonfield with a long overdue, plenty grisly return. If Laurie is prepared, the rest of the community, per usual, is very much susceptible to Michael’s prey.

Never before has this series been such a meandering slog as it is in its opening half hour. The insertion of true-crime podcasting into the franchise must have sounded timely and inspired on the page but it’s not the least bit compelling on the screen. Once Michael is back in action, the proceedings do at least muster the same satisfaction as a competent slasher picture, yet it’s never nearly on the same level as Carpenter’s original.

As always, Curtis gives it her all as Laurie and especially provides the picture a boost in its final half hour, a cat-and-mouse duel between she and Michael that is claustrophobic in the best sense. Unfortunately, the supporting cast around her isn’t terribly memorable and there is at least one character and plot twist that, thankfully briefly, sends the film jumping the shark. Kudos to the very funny Jibrail Nantambu, portraying the only character (besides Laurie) you’re genuinely rooting for Michael not to knock off.

Green does a fine job staging the rousing grand finale but the rest of his direction is strictly workmanlike stuff, decidedly not Carpenter-caliber. Speaking of Carpenter, however, his musical score, jazzed up a bit this time around, remains a stirring winner.

If Halloween is hardly the worst entry in the series, it also falls tragically short of the greatness once so present in this franchise.

B-

2018 Oscar Nomination Predictions (October)

How’s it hanging, my fellow Oscar lovers?

Over the past month, since my September predictions. a host of developments have transpired in this roller coaster ride of an awards season:

• Trailers dropped for a handful of Oscar contenders, including Capernaum; Mary Poppins Returns; Stan & Ollie; and Vice.

• Warner Bros. announced The Mule, the latest picture from Clint Eastwood, will make the cut for Oscar consideration with a December release date. The film also stars Bradley Cooper, Michael Pena and the all-around amazing Dianne Wiest.

• Speaking of Cooper, his A Star Is Born, as generally expected, is making a killing at the box office following a gangbusters festival run and marvelous reviews. Much as I enjoyed the picture, it still doesn’t strike me as likely to completely steamroll this awards season, as some pundits seem convinced.

• Amazon Pictures moved Mike Leigh’s Peterloo out of 2018 awards consideration. The film will now be released in April.

• In a move surely designed to help Black Panther, Disney announced Avengers: Infinity War will solely earn an Oscar push in Best Visual Effects.

• After being missing in action at the Telluride, Toronto and Venice Film Festivals, Mary Queen of Scots and On the Basis of Sex will at last see the light of day at the AFI Fest in November.

• Willem Dafoe, Rachel Weisz and Paul Greengrass were named honorees for the upcoming Gotham Awards. All three - with At Eternity’s End, The Favourite and 22 July - are Oscar hopefuls.

• John Krasinski’s critical and commercial smash A Quiet Place released For Your Consideration ads in its underdog bid for awards season recognition. I was plenty fond of the pic but can’t help but suspect it’ll be forgotten and/or not taken seriously by the bulk of voters.

No doubt, I'm forgetting something of significance that recently went down.

Please see below my latest set of Oscar predictions, for the month of October. In parentheses you will find how many spots a contender has moved up or down since my last rankings. In some cases, I have dropped a film or performer entirely. I am still holding off on predictions in the shorts, as well as Best Original Song.

Have fun reading and, as always, feel free to comment with your own thoughts too!

Best Picture

1. First Man (-)

2. A Star Is Born (-)

3. Roma (+1)

4. If Beale Street Could Talk (-1)

5. Green Book (+5)

6. The Favourite (-1)

7. BlacKkKlansman (-)

8. Widows (-2)
   —

9. Can You Ever Forgive Me? (-)

10. Vice (-2)

11. Black Panther (+4)

12. The Mule (NEW)

13. Mary Queen of Scots (-1)

14. Crazy Rich Asians (-)

15. The Ballad of Buster Scruggs (NEW)

DROPPED
The Incredibles 2 (-6)
Boy Erased (-3)

Best Director

1. Damien Chazelle, First Man (-)

2. Alfonso Cuaron, Roma (-)

3. Bradley Cooper, A Star Is Born (+1)

4. Barry Jenkins, If Beale Street Could Talk (-1)

5. Steve McQueen, Widows (-)
   —

6. Spike Lee, BlacKkKlansman (-)

7. Yorgos Lanthimos, The Favourite (-)

8. Adam McKay, Vice (-)

9. Clint Eastwood, The Mule (NEW)

10. Ryan Coogler, Black Panther (-1)

DROPPED
Orson Welles, The Other Side of the Wind (-1)

Best Leading Actor

1. Bradley Cooper, A Star Is Born (+1)

2. Ryan Gosling, First Man (-1)

3. Willem Dafoe, At Eternity's Gate (-)

4. Viggo Mortensen, Green Book (NEW)

5. Christian Bale, Vice (-)
   —

6. Robert Redford, The Old Man and the Gun (-2)

7. Lucas Hedges, Boy Erased (-1)

8. Clint Eastwood, The Mule (NEW)

9. Rami Malek, Bohemian Rhapsody (NEW)

10. John David Washington, BlacKkKlansman (-)

DROPPED
Mahershala Ali, Green Book (-4)
Steve Carell, Beautiful Boy (-3)
Stephan James, If Beale Street Could Talk (-2)

Best Leading Actress

1. Melissa McCarthy, Can You Ever Forgive Me? (-)

2. Glenn Close, The Wife (+2)

3. Lady Gaga, A Star Is Born (+2)

4. Viola Davis, Widows (-)

5. Emma Stone, The Favourite (+1)
   —

6. Yalitza Aparcio, Roma (NEW)

7. Kiki Layne, If Beale Street Could Talk (+1)

8. Nicole Kidman, Destroyer (-5)

9. Julia Roberts, Ben Is Back (-2)

10. Saoirse Ronan, Mary Queen of Scots (-1)

DROPPED
Toni Collette, Hereditary (-1)

Best Supporting Actor

1. Mahershala Ali, Green Book (NEW)

2. Sam Elliott, A Star Is Born (-1)

3. Richard E. Grant, Can You Ever Forgive Me? (+1)

4. Timothee Chalamet, Beautiful Boy (-2)

5. Stephan James, If Beale Street Could Talk (NEW)
   —

6. Daniel Kaluuya, Widows (-3)

7. Sam Rockwell, Vice (-2)

8. Russell Crowe, Boy Erased (-2)

9. Adam Driver, BlacKkKlansman (-1)

10. Robert Forster, What They Had (-)

DROPPED
John C. Reilly, Stan and Ollie (-4)
Ben Foster, Leave No Trace (-3)

Best Supporting Actress

1. Claire Foy, First Man (-)

2. Regina King, If Beale Street Could Talk (-)

3. Nicole Kidman, Boy Erased (+1)

4. Olivia Colman, The Favourite (-1)

5. Rachel Weisz, The Favourite (+1)
   —

6. Sissy Spacek, The Old Man and the Gun (+1)

7. Amy Adams, Vice (-2)

8. Natalie Portman, Vox Lux (-)

9. Margot Robbie, Mary Queen of Scots (-)

10. Kathy Bates, On the Basis of Sex (-)

Best Original Screenplay

1. Alfonso Cuaron, Roma (+1)

2. Deborah Davis and Tony McNamara, The Favourite (-1)

3. Brian Hayes Currie, Peter Farrelly and Nick Vallelonga, Green Book (+4)

4. Joel and Ethan Coen, The Ballad of Buster Scruggs (NEW)

5. Jonah Hill, Mid '90s (+1)
   —

6. Adam McKay, Vice (-3)

7. Jean-Claude Carriere and Julian Schnabel, At Eternity's Gate (-3)

8. Jihad Hojeily, Michelle Keserwany, Nadine Labaki and Khaled Mouzanar, Capernaum (NEW)

9. Bo Burnham, Eighth Grade (-)

10. Daniel Stiepleman, On the Basis of Sex (-)

DROPPED
Mike Leigh, Peterloo (-6)
Oja Kodar and Orson Welles, The Other Side of the Wind (-3)

Best Adapted Screenplay

1. Barry Jenkins, If Beale Street Could Talk (-)

2. Spike Lee, David Rabinowitz, Charlie Wachtel and Kevin Willmott, BlacKkKlansman (+2)

3. Josh Singer, First Man (-1)

4. Bradley Cooper, Will Fetters, Irene Mecchi, Stephen J. Rivele, Eric Roth and Christopher Wilkinson, A Star Is Born (-1)

5. Nicole Holofcener, Can You Ever Forgive Me? (-)
   —

6. Gillian Flynn and Steve McQueen, Widows (-)

7. Joel Edgerton, Boy Erased (+1)

8. David Lowery, The Old Man and the Gun (-1)

9. Beau Willimon, Mary Queen of Scots (+1)

10. Jon Robert Cole and Ryan Coogler, Black Panther (NEW)

DROPPED
Luke Davies, Beautiful Boy (-2)

Best Animated Feature

1. The Incredibles 2 (-)

2. Ralph Breaks the Internet: Wreck-It-Ralph 2 (+1)

3. Isle of Dogs (+1)

4. Lu Over the Wall (+3)

5. Smallfoot (-4)
   —

6. Fireworks (-1)

7. Mirai (-1)

8. The Grinch (+1)

9. Tito and the Birds (NEW)

10. Spider-Man: Into the Spider Verse (-)

DROPPED
Teen Titans Go! to the Movies (-3)

Best Documentary Feature

1. RBG (-)

2. Three Identical Strangers (-)

3. King in the Wilderness (-)

4. Won’t You Be My Neighbor? (-)

5. The Oslo Diaries (-)
   —

6. The Silence of Others (-)

7. Inventing Tomorrow (-)

8. The Price of Everything (NEW)

9. Fahrenheit 11/9 (-)

10. Jane Fonda in Five Acts (-2)

DROPPED
Love, Gilda (-1)

Best Foreign Language Film

1. Roma (Mexico) (-)

2. Capernaum (Lebanon) (+1)

3. Never Look Away (Germany) (+1)

4. Cold War (Poland) (-2)

5. Sunset (Hungary) (-)
   —

6. Shoplifters (Japan) (NEW)

7. Border (Sweden) (+1)

8. Girl (Belgium) (-2)

9. The Interpreter (Slovakia) (-)

10. Ghost Hunting (Palestine) (NEW)

DROPPED
Loro (Italy) (-3)
La Familia (Venezuela) (-2)

Best Cinematography

1. Matthew Libatique, A Star Is Born (-)

2. Linus Sandgren, First Man (-)

3. James Laxton, If Beale Street Could Talk (-)

4. Alfonso Cuaron, Roma (-)

5. Robbie Ryan, The Favourite (-)
   —

6. Sean Bobbitt, Widows (-)

7. Rachel Morrison, Black Panther (+1)

8. Caleb Deschanel, Never Look Away (NEW)

9. Christopher Aoun, Capernaum (NEW)

10. Bruno Delbonnel, The Ballad of Buster Scruggs (-)

DROPPED
Hoyte Van Hoytema, Ad Astra (-4)
Dick Pope, Peterloo (-2)

Best Costume Design

1. Sandy Powell, The Favourite (-)

2. Sandy Powell, Mary Poppins Returns (+1)

3. Colleen Atwood, Fantastic Beasts: The Crimes of Grindelwald (-1)

4. Mary Zophres, First Man (+1)

5. Andrea Flesch, Colette (-1)
   —

6. Alexandra Byrne, Mary Queen of Scots (-)

7. Ruth E. Carter, Black Panther (-)

8. Guy Speranza, Stan and Ollie (+1)

9. Jenny Beavan, The Nutcracker and the Four Realms (+1)

10. Caroline Eselin, If Beale Street Could Talk (NEW)

DROPPED
Jacqueline Durran, Peterloo (-3)

Best Film Editing

1. Tom Cross, First Man (-)

2. Jay Cassidy, A Star Is Born (-)

3. Alfonso Cuaron and Adam Gough, Roma (+2)

4. Joe Walker, Widows (-1)

5. Joi McMillon and Nat Sanders, If Beale Street Could Talk (-1)
   —

6. Barry Alexander Brown, BlacKkKlansman (-)

7. Sam Sneade, The Favourite (-)

8. Hank Corwin, Vice (-)

9. Debbie Berman and Michael P. Shawver, Black Panther (-)

10. William Goldenberg, 22 July (NEW)

DROPPED
John Axelrad and Lee Haugen, Ad Astra (-1)

Best Makeup and Hairstyling

1. Vice (-)

2. The Favourite (-)

3. Stan and Ollie (-)
   —

4. Mary Queen of Scots (-)

5. At Eternity's Gate (-)

6. Colette (NEW)

7. Deadpool 2 (-)

8. Fantastic Beasts: The Crimes of Grindelwald (-)

9. Black Panther (-3)

10. Suspiria (-)

DROPPED
Peterloo (-5)

Best Original Score

1. Justin Hurwitz, First Man (-)

2. Nicholas Britell, If Beale Street Could Talk (-)

3. Terence Blanchard, BlacKkKlansman (-)

4. Marc Shaiman and Scott Wittman, Mary Poppins Returns (-)

5. Alexandre Desplat, Isle of Dogs (-)
   —

6. Hans Zimmer, Widows (+2)

7. James Newton Howard, Fantastic Beasts: The Crimes of Grindelwald (-1)

8. Michael Giacchino, The Incredibles 2 (-1)

9. Nicholas Britell, Vice (NEW)

10. Michel Legrand, The Other Side of the Wind (-)

DROPPED
Alexandre Desplat, The Sisters Brothers (-2)

Best Production Design

1. Fiona Crombie and Alice Felton, The Favourite (-)

2. John Myrhe and Gordon Sim, Mary Poppins Returns (-)

3. Stuart Craig and Anna Pinnock, Fantastic Beasts: The Crimes of Grindelwald (-)

4. Nathan Crowley and Kathy Lucas, First Man (-)

5. Lisa Chung and Guy Hendrix Dyas, The Nutcracker and the Four Realms (-)
   —

6. Gina Cromwell and James Merifield, Mary Queen of Scots (-)

7. Paul Harrod and Adam Stockhausen, Isle of Dogs (-)

8. Stephan Cressend and Cecile Vatelot, At Eternity’s Gate (-)

9. Hannah Beachler and Jay Hart, Black Panther (-)

10. Michael Carlin, Lisa Chugg and Nora Talmaier, Colette (NEW)

DROPPED
Suzie Davies and Charlotte Watts, Peterloo (-1)

Best Sound Editing

1. A Star Is Born (-)

2. First Man (-)

3. Mission: Impossible - Fallout (+1)

4. Black Panther (+2)

5. Mary Poppins Returns (+5)
   —

6. Bohemian Rhapsody (NEW)

7. Ready Player One (-)

8. The Incredibles 2 (-)

9. Widows (-)

10. 22 July (NEW)

DROPPED
Avengers: Infinity War (-8)
Ad Astra (-6)

Best Sound Mixing

1. A Star Is Born (-)

2. First Man (-)

3. The Incredibles 2 (-)

4. Widows (-)

5. Mary Poppins Returns (+4)
   —

6. Bohemian Rhapsody (NEW)

7. Black Panther (-)

8. Mission: Impossible - Fallout (-)

9. Roma (NEW)

10. The Nutcracker and the Four Realms (-)

DROPPED
Avengers: Infinity War (-6)
Ad Astra (-5)

Best Visual Effects

1. First Man (-)

2. Avengers: Infinity War (-)

3. Ready Player One (-)

4. Fantastic Beasts: The Crimes of Grindelwald (+1)

5. Black Panther (+1)
   —

6. The Nutcracker and the Four Realms (-1)

7. A Wrinkle in Time (+1)

8. Deadpool 2 (+1)

9. Isle of Dogs (NEW)

10. Solo: A Star Wars Story (-)

DROPPED
Ad Astra (-7)

Review: "The Old Man & the Gun"

Nearly four decades ago, at the 53rd Academy Awards, Robert Redford and Sissy Spacek had their ultimate moments in the Oscar spotlight as the director and star of Ordinary People and Coal Miner’s Daughter, respectively. Redford scored honors for his filmmaking - and his directorial debut won Best Picture to boot - while Spacek earned Best Actress, to date her lone victory at the Oscars.

Inexplicably, these two titans of the big screen had never teamed up for a motion picture over their storied careers in cinema - that is, until now.

Watching David Lowery’s leisurely The Old Man & the Gun, based on David Grann’s 2003 article from The New Yorker, one wishes Redford and Spacek had collaborated at least half a dozen times prior. They make an absolutely irresistible duo, sporting an enchanting rapport guaranteed to make your heart flutter and plant a gigantic smile on your face.

Redford is Forrest Tucker, the charming career criminal who cannot get enough of robbing banks, escaping prison and doing the whole thing all over again. Spacek is Jewel, the fetching widow who leads the coziest of lives on her horse farm and is taken instantly with the 70-year-old culprit. At first, Jewel cannot even believe Forrest’s story but, over time, is able to overlook her companion’s wrongdoings - heck, even the bank employees he’s robbing have nothing but kind things to say about this gentleman.

If The Old Man & the Gun were exclusively focused on Redford and Spacek, it would be a pitch-perfect endeavor. Alas, there’s a detective on Forrest’s heels and he’s portrayed by Casey Affleck, in a lifeless performance that makes his Oscar-winning turn in Manchester by the Sea look positively giddy. The Affleck scenes feel curiously incomplete, as if much material was left on the cutting room floor. Wonderful actors like Keith Carradine and John David Washington (so fantastic earlier this year in BlackKklansman) linger in the background, sans much of anything to do. As Forrest’s longtime partners in crime, Danny Glover and Tom Waits have a tad more to do but too feel rather underutilized.

With that said, The Old Man & the Gun remains a must-see for the beauty that oozes out of the screen anytime Redford and Spacek grace it. You won’t find another film couple so downright adorable this awards season.

B+