Smash Cut

Karl Delossantos

  • Midnight Special Movie Review — A pitch-perfect 80’s sci-fi throwback

    Midnight Special Movie Review — A pitch-perfect 80’s sci-fi throwback

    Midnight Special proves that you don’t need huge explosions, action set pieces, or over-the-top special effects to make a great sci-fi movie

    The 80s are back in style. From Carly Rae Jepsen’s EMOTION to Stranger Things to Everybody Wants Some, it seems like Hollywood had a board meeting and decided that this is the decade we’re going to be homaging this year. However, unlike the clear homages that these were, Director Jeff Nichols’ Midnight Special feels more influenced by the decade. And specifically by E.T., It’s influenced by its character-driven plot that overshadows the sci-fi one and it inherits the decade’s anxiety about the extent of the government’s control.

    However, the story is much small than that. Boiled down, it’s a story about a father and the lengths he will go to protect his son, Alton (Jaeden Lieberher). However, Alton isn’t just any 8-year old kid. He possesses incredible powers that are not of this world (which seem to be influenced again by E.T.). This has made him a hugely sought after property by two groups in particular: The Ranch and the government. The Ranch is a cult that sees Alton as a Jesus figure while the government sees him as a weapon. Both groups will go to extraordinary lengths to retrieve him, which Roy (Michael Shannon), Lucas (Joel Edgerton), and Sarah (Kirsten Dunst), won’t let happen.




    The entire movie begins en media res. From there, Nichols builds a compelling narrative that doesn’t concern itself with huge ideas (though the ending betrays this, but I’ll leave that for you to decide). All we know at the beginning is that there is an amber alert for a 9-year old boy. The government is orchestrating a cross-country chase for Alton, Roy, Lucas, and Sarah which is being led by Paul Sevier (Adam Driver), a surprisingly amicable NSA agent. As the group makes a run for it, we learn what exactly they’re running to and why so many people are interested in a 9-year old that wears giant headphones and swimming goggles.

    One of the most amazing things about Midnight Special is its incredible trust in its audience. It is a true exercise in showing, not telling. The most obvious example (although the movie is strewn with subtle ones) comes from the character of Lucas. Nichols is so careful with his framing of Lucas. He never shares the frame with the full family, and when he does he’s relegated to the far background. To me, Lucas’ storyline is the most intriguing. He has no reason to help Roy and Alton. However, with smart cinematography and Edgerton’s career-high performance we are able to attain that he is looking to be a part of a family. Just some lingering looks he gives is all we need to know that he cares.




    Overall, the movie has wealth of phenomenal performances. There’s Michael Shannon whose struggle to be strong for his son is outlined by his clear fear of losing him. He tells him at one point: “I’ll always worry about you, Alton. That’s the deal.” Kirsten Dunst;s perpetually worried Sarah, who is Alton’s mother, offers more outward emotion compared to Shannon’s intrinsic approach and becomes the emotional center of the film. However, Joel Edgerton is the true standout for me. His understated performance is a pitch-perfect complement to the film’s naturalistic style.

    Midnight Special isn’t going to be a movie that everyone loves. While the pretty simple, linear narrative is the set-up for most crowd-pleasers the focus on the family unit and their motivations may cause some people to ask, “what’s the point?” Government conspiracies, cults, and even the sci-fi elements take a back seat to the family drama surrounding Alton Meyer. While the entire movie is exciting with incredibly realized set pieces, the love that the principle characters show for each other is what makes it a great movie.

    7/10

    Midnight Special is available on DVD, Blu-Ray, and digital on Amazon!

  • Bellweather Rhapsody Book Review — A Compulsively Readable Dark Comedy Mystery

    Bellweather Rhapsody Book Review — A Compulsively Readable Dark Comedy Mystery

    Bellweather Rhapsody is a coming-of-age drama and whodunit mystery wrapped into a quirky dark comedy

    Agatha Christie, The Shining, and Stephen King are all directly referenced in Kate Racculia’s sophomore effort. However, they are more than just reference because they shape the book itself. Bellweather Rhapsody is simultaneously a “whodunit” mystery, teenage coming-of-age dramedy, shifting character study, and even more. But Racculia balances the genres so deftly with her off-kilter characters that in the end, this odd comedic tragedy becomes something profound in the end.

    Though Bellweather Rhapsody follows six main characters with countless minor characters, the main focus is a set of twins: the Hatmakers. Alice Hatmaker is a star on the rise. At least she thinks so. She even keeps a journal that she wants to eventually become her biography when her star has finally faded. For her, the world, the sun, and universe revolve around her. She doesn’t hope she will be a star, she knows she’s going to be. Her brother on the hand is a much more down-to-Earth teen who simply wants to get through life without embarrassing himself.




    However, let me bring it back to the beginning. 1982 in the Bellweather hotel in upstate New York to be exact where a gruesome murder-suicide rocks the world of Minnie Graves. Not only does it leave a permanent scar on her delicate young psyche, it also shoves her head deep into the world of horror movies, which Racculia pulls heavily from. Fast forward to 1997 when the Hatmaker twins, stars of the school’s chorus and orchestra, are selected to join the Statewide music festival, the pinnacle of high school music in the state, at the Bellweather.

    Alice, the more rambunctious and ambitious of the two, is looking forward to cementing her place as a star on the rise. Rabbit (Bertram), on the other hand, just wants to figure out a way to come out to his sister. Neither of them, along with their chaperone Natalie Wilson, quite know what the old beast of a hotel has in store for them.

    The twins’ dynamic drives so much of the emotional heft of the book. Despite the world seemingly crashing down around them (or the hotel for that matter at least), what’s more devastating is the prospect of the Hatmaker twins not being together as the shadow of college approaches them. This triggers two entirely different responses from them, which leads to two distinct coming-of-age stories.

    While the complex whodunit mystery is the main plot that connects the characters, it’s the study of them that makes the book so compelling. There’s Natalie who has to come to terms with her guilt. Rabbit who is trying to find the right time to come out to his sister and come out of her shadow. Alice comes to terms with her imminent stardom possibly not being so imminent. The hotel is simply an incubator for these people to grow up and grow past their hardships in life.

    What I love most about the book is that it doesn’t play slave to its genre’s boundaries. Yes, it’s a mystery. Yes, it’s a dark comedy. Yes, it’s a coming-of-age drama. But the mystery isn’t filled with red herrings and it doesn’t try to throw you off its trail. The dark comedy doesn’t tread on desperation. The coming-of-age doesn’t feel melodramatic. Plus, it’s all tied together by Racculia’s ability to emote so beautifully through her words:

    “This is why. This is why. This is why he plays, why he loves, why he listens. It isn’t even a high — a high is too low — it is synchronicity, with the universe. Physical proof of the three-part harmony between body and soul and song, all three living, dying, resonating.”




    Sometimes her writing meanders through self-introspection instead of forwarding the plot, which sometimes slips out from under you, but the story and trajectory itself are so unpredictable that in the end, you feel satisfied. And it you are someone who loves twists, they are carried out so beautifully here. While she drifts when it comes to characters, she trusts her reader enough not to over explain the story and that’s something that is so sadly rare these days.

    Bellweather Rhapsody is a crowd-pleaser like no other. It balances its genres in a way that it becomes something entirely different in itself. It’s compulsively entertaining, thrilling, and sometimes even downright hilarious. There are books that you can read in one sitting, then there the ones that you need to read in one sitting. Bellweather Rhapsody is the latter. You won’t be able to put it down.

    8.5/10

    Get Bellweather Rhapsody on paperback, hardcover, or e-book on Amazon!

  • Then We Came to The End Book Review — Poignant, funny, and tragically real

    Then We Came to The End Book Review — Poignant, funny, and tragically real

    Joshua Ferris’ Then We Came to the End is equal parts stinging satire of working and moving character study about the meaning of life

    For me, the best way to tell how I felt about a book is looking at my reaction to the ending. I’m not talking about my reaction to what happens, but more how I feel towards finishing the book and putting it down.Then We Came To The End made me feel something that I rarely feel in finishing a book: the desire for it to go on. Most books end in a satisfying way and I think that’s great. It’s great to come to the end of a book and think that the payoff was worth the journey. But the hilarious, somewhat tragic, and in the end an all-too-real look at the lives of everyone in the workforce had enough to go on.




    When I first read this book I was in high school and probably still working at my first job ever as a sales associate at Toys R Us (but that’s a story for another day). I loved it. I thought it was a hilarious take on adulthood and this “real world” that everyone worries about. But reading it a second time when I am now a college graduate working in the so-called real world it turned into this shockingly accurate and tragically real look at what it is to work in an office.

    Ferris’ writing is a work of genius. He includes passages of stinging humor like:

    “It was madness to leave without your useless shit. You came in with it, you left with it–that was how it worked. What would you use to clutter a new office with if not your useless shit?”

    But he also interjects surprisingly vivid and resonant sections.

    “One topic — that was all we knew and it tyrannized every conversation. We fell into it helplessly, the way jilted lovers only know one subject, the way true bores never transcended the sorry limitations of their own lives. It was a shrill, carping, frenzied time, and as poisonous an atmosphere as anyone had ever known — and we wanted nothing more than to stay in it forever.”

    But the real genius comes from his decision to write the book from the perspective narrator that refers to everyone in the office as a collective “we.” Not only is it fitting because often in a corporate setting you are made to work on a team, it also includes the reader in on the group. You hear the inside jokes. You hear the rumors sweep the office. You are as much of a participant in the book as the characters are. The entire book is structured as if you are hearing a story being relayed from person to person through the office.




    The payoff is the final chapter, which I hope is why the title of the book refers to an end. After spending nearly 400 pages with these characters we are forced to say goodbye. Some we have to let go of because of tragedy. Some we have to let go of because contact was lost. However, what remained the same in these goodbyes was the fact that as each character departed, I felt a pang of sadness. I feel like I knew the character like he or she was a real person and I was never going to see them again.

    Not everyone is going to love Then We Came to the End (just look at its Goodreads rating) because it’s not a book that’s written for everyone. It’s a book written for the subset of society that has alarms set for 7:30am and has to be at work at 9am. It’s for the people that can’t wait to hear a piece of office gossip. It’s for the people look forward to noon when they get one hour of freedom. For those people, this book will be a hilarious and poignant look at 8 hours of their day. But more than that it begs the question: “is this really the meaning of life?” For others, the humor will be hit or miss and the characters could be annoying or not relatable. For us, these characters are you and me.

    10/10

    Then We Came to the End is available in paperback, hardcover, and e-book on Amazon!

  • Lights Out Movie Review — Good ol’ fashion scares make for a fun watch

    Lights Out Movie Review — Good ol’ fashion scares make for a fun watch

    Looking for a spooky fun horror movie to watch? Well, Lights Out fits the bill.

    My favorite thing to do when watching horror movies now is not knowing a single thing about them. No trailers, no reviews, no synopsis. While it becomes difficult to decide what to watch when you do that, often the result is a movie experience like no other. Our most recent success story is probably going into The Invitation blind. It ended up taking top spots on me and Brian’s best of the year list so far. There was a surprising buzz behind Lights Out. The buzz felt like the kind that an indie horror would get even though it was distributed by Lights Out. That’s why when Brian and I heard about it, we were instantly intrigued.

    When the movie started and the opening beats began Brian turned to me and said “it’s starting already. I’m not ready for this.” That’s because had an eerie mix of dark and brooding atmosphere and these well-executed jump scares that instantly put you on edge. I had a heard time keeping my hands away from my face, which is a lot more impressive considering we were watching in a dine-in theater and I could have been eating my Philly flatbread.




    The opener does what every good horror opener should do and that makes you ask “what the hell is going on?” It Follows’ opening scene does this perfectly and so does the one in Lights Out. I’ll leave you to be freaked out by this one.

    I think that it’s pretty safe to give a vague synopsis of this movie because unlike The Invitation it isn’t integral to the plot. We are introduced to Rebecca (Teresa Palmer), a seemingly normal angst-filled punk millennial with commitment issues. While this sounds like the making for that horror movie character that you hope dies first, the movie provides enough depth to make her more relatable than anything.

    Her mother suffers from a mental illness that seems like manic depression, which gives Maria Bello some really great material to work with. Rebecca resents her mother for not being there for her during her childhood. In reaction to this, she runs away, which is a theme that is revisited often throughout the film. Her kind-of boyfriend Bret (Alexander DiPersia) even says in one of the film’s stronger character moments: “Are you doing this to help him or hurt her?”

    That story arc is what carries this film past its jump scares and classic horror movie formula to actually make it kind of compelling. That being said, there are some really effective scares in the movie that make it for an incredibly good time at the movies.

    The movie presents some interesting rules. Their mother has an “imaginary friend” who she only talks to in the dark. This causes Martin (Gabriel Bateman), Rebecca’s little brother who still lives with his mother, insomnia. However, this friend ends up not being so imaginary and is willing to do anything to stay “friends” with their mother. The catch? It can’t be seen and has no power in light.




    The movie sets the rules and sticks to them and even presents more rules that raise the stakes. Narratively there is no separation between the character drama and the supernatural elements. They’re one in the same. It makes the movie go by so fast and prevents it from being clunky like other horror flicks that try to alternate between the two.

    I say this a lot about movies but Lights Out doesn’t try to reinvent the horror movie. It uses some good old fashioned jump scares and a tense atmosphere to make a really effective scary movie. One of my favorite moments of the movie comes at the beginning when a character turns off the lights in a room and sees the monster then turns it back on to just have it disappear, then turns the lights back off to see it again, and does it again, and again until… well, you’ll just have to find out. Lights Out is good fun that makes for a perfect late night popcorn flick. 7/10

    Lights Out is available on DVD, Blu-Ray, and digital on Amazon!

  • Star Trek Beyond Movie Review — Focus on character revitalizes the reboot franchise

    Star Trek Beyond Movie Review — Focus on character revitalizes the reboot franchise

    Justin Lin’s Star Trek Beyond shows that a blockbuster can be in the same realm as a character drama and still be successful

    Going into Star Trek Beyond I wasn’t feeling the highest on Star Trek Into Darkness (check out my review here). I thought it was thisclose to being a great movie. But two things kept it from that. The first was the underutilization of the full cast. Second, the movie felt more concerned with having these epic action set pieces that it forgot to have a strong plot underneath connecting them. Since Justin Lin was directing it I was a bit nervous that it would actually be even more concerned with action set pieces. He proved me wrong. He proved me so wrong, in fact, that I think this is the strongest movie in the Star Trek reboot franchise.

    Now, I will precede this review with the fact that I saw the movie during an incredible birthday weekend orchestrated by Brian, but I really think that this movie will hold as one of the best blockbusters of the decade.

    I’m not too familiar with the Star Trek franchise outside the reboot films, but I imagine this is what the series felt like. Justin Lin has shown surprising restraint in character scenes throughout the movie. The movie begins with a simple, but resonant monologue that talked about what is like aboard the Enterprise when they aren’t being attacked or fighting. Lin said he was interested in those moments outside of work and how characters interacted with each other in a personal setting and this sequence was perfect in positioning the overall mood of the movie.



    In all, this movie was the most humanizing of the franchise so far. That brings me to the much talked about decision to make Sulu (John Cho) gay as a tribute to George Takei. As a gay Asian man it was so refreshing to see that particular culture portrayed on screen and the meaning behind it was even stronger. The way it was handled was so beautiful. It didn’t feel like an epic moment. It felt normal. As John Cho said, in ten years it’ll just fade into the background because his sexuality didn’t matter. But what was even more impressive was that this movie talked about the lives of these characters outside of the ship. There was Sulu’s family, but early in the movie, there was a scene between Bones (Karl Urban) and Kirk (Chris Pine) where they talked about his father’s death and talking to his mother. It’s so easy to forget that these characters have lives and that three years aboard a ship is going to take a toll.

    As for the main plot and action, I think that it is visually one of the most interesting and impressive of the series so far. The Enterprise is attacked just above an uninhabited and uncharted planet and as the crew gradually evacuates, they are separated and some are taken by the mysterious villain Krall (Idris Elba).

    The pairings make for incredibly funny moments, but also such great character moments. There are McCoy and Spock which makes for a hilarious pair, but also really touching moments when Spock begins to question his morality. They naturally seem like such opposites, but when they are faced with what seems like a hopeless situation they raise each other up in their own unique ways.

    Then there’s Chekov (Anton Yelchin [RIP]) and Kirk. I think that Chekov felt like a boy in the first two movies, but he truly comes into himself here with Kirk as his fatherly figure. I wish there was more to their story, but the work the Yelchin and Pine put into it is some of the strongest acting of the series.

    Uhura (Zoe Saldana) remains the heart of the crew and that continues when she’s imprisoned by Krall. She is out insight into him. Plus, she gets to kick ass. I wish her role was more integral to the plot, but I’ll take what I can get. She matches with Sulu, who has also become this strong heart in the crew as well.

    Lastly, we have Scotty (Simon Pegg) and Jayla (Sofia Boutella). They become unlikely partners when she saves him from a group of bandits on the planet. Her ignorance to some of the human tendencies makes for hilarious exchanges between the two. But she also has a nice arc about what it is to be brave. Boutella is a breakout star. Her addition ups the female power in the series and shows what an action hero can truly be.



    But as much as I love the action set pieces like the Enterprise being attacked and crashing into the planet or the rescue plan for the imprisoned crew, I still go back to these character moments. However one sticks out to me in particular.

    MILD SPOILER ALERT AFTER THE JUMP

    Early in the film, we are shown the futuristic Federation base Yorktown. The same way our hearts swelled when we first saw dinosaurs in Jurassic Park and we heard the score swell, the visuals of this city were incredible. But it plays a part at the end of the movie too when Krall turns his attack towards it.

    We are introduced to Sulu’s family on the base, which adds an emotional element to the attack. We aren’t seeing faceless red shirt being killed. It is Sulu’s family who we care about because we care about Sulu. It was a smart simple touch that made the film all the better.

    END SPOILERS!

    Star Trek Beyond is about unity and why being together is better than being apart. With the Brexit and Donald Trump being in the news this year, that message holds, even more, truth. However, Star Trek doesn’t concern itself with politics. Yes it had the first interracial kiss on television, yes they have a gay Asian character, but these are born out of moments of character. It’s what made Mad Max: Fury Road so great and what makes this one of the best movies of the year so far.

    8.5/10

    Get Star Trek Beyond on DVD, Blu-Ray, or digital on Amazon!

  • Star Trek Into Darkness Movie Review — A solid but underwhelming follow up

    Star Trek Into Darkness Movie Review — A solid but underwhelming follow up

    It doesn’t live up to the first movie in the franchise, but Star Trek Into Darkness holds its own as an action thriller

    With Star Trek Beyond hitting theaters this week I thought it’d be the perfect time to go back and review its predecessor, Star Trek Into Darkness (the title gets a negative review).

    I need to explain my history with the Star Trek franchise before diving into this review. Three words: I. Have. None. Yes, my first experience with Star Trek was J.J. Abrams’ 2009 reboot and Patrick Stewart’s facepalm meme. That being said, it was nice going into this film with no prior conceived notions of even the tone of what came before. I didn’t know if it was going to be a crowd pleaser like Star Wars or a gritty action thriller like Alien. I quickly found that it essentially toed the line down the middle, though straying more a bit to the crowd-pleasing side.

    I loved the first movie. I thought it was an incredibly sleek and well-shot action thriller that had a surprising amount of depth in its characters. It was the chemistry among the cast and Abrams’ surprising grasp of the film’s mood that made it so successful. It’s surprising that it took me this long to finally get to the sequel. It’s simply one of those movies that just slipped through the cracks. But when I finally did I thought it was a mixed bag.

    Starting off with the cast. I think that the supporting cast was severely underutilized. Zoe Saldana‘s strong, take-what-I-want Uhura was relegated to a pissed off girlfriend role while Anton Yelchin‘s (RIP) endearing Chekov simply ran around saying what was going wrong. John Cho‘s Sulu, even though at one point becoming the acting captain of the Enterprise, didn’t get much more than some strong lines then fades into the background.

    “Nyota, you mistake my choice not to feel as a reflection of my not caring. Well, I assure you, the truth is precisely the opposite.” – Spock

    Instead, a lot of time was devoted to the relationship between Chris Pine‘s Captain Kirk and Zachary Quinto‘s Spock. I didn’t mind that per se, but much of that storyline didn’t need nearly as much time as it received. Another storyline that had a little too much time was Benedict Cumberbatch‘s villainous turn as Kahn. While I appreciated the attempt to create a multi-layered antagonist with motives that could be perceived as admirable, they gave him too much time to monologue and not enough to be a really cruel bad guy.

    We get a moment briefly when his cruelty is truly explored when Kirk, Spock, Scotty, and Dr. Carol Marcus (Alice Eve) are trapped on an enemy ship, but that moment is short lived. That’s the issue I think Abrams had this time around. He was too concerned with creating these epic set pieces like Kirk and Kahn space diving to another ship or a battle with a Klingon patrol and forgot that there was a story to tell.

    That being said, I thoroughly enjoyed these set pieces and the chemistry between the two lead actors. Plus, there were some moments that weren’t as epic but still showed great vision from Abrams, like an attack on a Star Fleet archive early in the movie. He showed some great restraint and focused more on this incredibly minor character’s motivations to the point that it very well might have been the most affecting part of the movie.

    If you enjoyed the first Star Trek, then you will probably enjoy Star Trek into Darkness for what it is: a summer blockbuster. It doesn’t have the charm or the heart of the first, but it gives enough fuel to the franchise to warrant its existence.

    7/10

    Get Star Trek into Darkness on DVD, Blu-Ray, or digital on Amazon!

  • 2016 Emmy Predictions: Lead Actress in a Limited Series or TV Movie

    2016 Emmy Predictions: Lead Actress in a Limited Series or TV Movie

    Lead Actress in a Limited Series or TV Movie is all but won. But I guess we can still predict nominees.

    Lead Actress in a Limited Series or TV Movie is already won. So, predicting the nominations is probably a little boring. Sarah Paulson (The People v. O.J. Simpson) has had such high notices for her performances that she would already naturally be the frontrunner. But add in the fact that she is in one of the most buzzed about shows of the last few years and that she can submit her tour de force episode “Marcia, Marcia, Marcia” and you have a winner.

    The only actress I can see giving her any competition is Kirsten Dunst (Fargo). Her show is looking to be the bridesmaid to O.J.’s bride and it’s no different in this category. Before O.J. premiered Dunst was the easy winner and that buzz can still push her over, but it’s unlikely.

    Another lock for a nomination is Kerry Washington (Confirmation). She lucked out because if this category was as competitive as the lead actor category she would have not been a lock by any means. Her movie wasn’t as well-received as the other contenders in this category, however the role is an important high-profile historical figure whose story is unfortunately timely.

    Both ladies from American Crime, Lilli Taylor and Felicity Huffman, should be good for nominations. Taylor more so than Huffman simply because she has the more baity role. However, Huffman had a nomination last year, which keeps her in contention.

    The last spot is going to be tricky. Nearly every pundit has Audra McDonald (Lady’s Day at Emerson’s Bar and Grill) in for her repeat performance in her Tony-winning role. However, I just don’t see her being that big of a lock. Her name just doesn’t seem enough to push her over and the movie isn’t enough for it to help her much. Plus, when she was predicted for The Sound of Music, it didn’t work out. However, what she does have working for her is the fact that the category this year is relatively weak. That’s why I’m keeping her in.

    The one contender outside of these six we have to look out for is Lady Gaga (American Horror Story: Hotel). This installment of Horror Story doesn’t seem like it’s going to make as big of a splash at the Emmys as the ones in the past. However, they’ve never missed a nomination in this category. Whether or not that’s because the only contenders have been Jessica Lange and Paulson is yet to be seen. But coming off a strong year, I can see voters going with her.

    Doesn’t matter though since Paulson winning, right?

    Check out my 2016 Emmy Predictions!

    My Predictions:

    Kirsten Dunst (Fargo)
    Felicity Huffman (American Crime)
    Audra McDonald (Lady’s Day at Emerson’s Bar and Grill)
    Sarah Paulson (The People v. O..J. Simpson)
    Lilli Taylor (American Crime)
    Kerry Washington (Confirmation)

  • 2016 Emmy Predictions: Lead Actor in a Limited Series or TV Movie

    2016 Emmy Predictions: Lead Actor in a Limited Series or TV Movie

    Lead Actor in a Limited Series or TV Movie is a very strong category led by two strong contenders. The first is four-time Emmy winner Bryan Cranston (All the Way). While the TV movie wasn’t as well received as HBO might have hoped, Cranston still got his usual strong notices and has already won a Tony for this role. In any other year he’d be the slam dunk winner. But not every year has a juggernaut quite as big as what FX has on their hands.

    Courtney B. Vance (The People v. O.J. Simpson) is arguably the most lauded part of the miniseries other than Sarah Paulson. Plus, similarly to Cranston, he’s playing a well-known historical figure. However, unlike Cranston, he has a lot of heat behind him. He’s also bolstered by the new rule stating that Limited Series performers can submit a single episode for consideration. This focuses his material and gives him an even stronger fight against Cranston.

    Outside these two top contenders, I think Idris Elba (Luther) will definitely return for his banner year. After a controversial Oscar snub and two wins at the SAG awards, he’s front and center. I don’t think he’ll have enough to win, but he’s at least good for a nomination.

    Also good for a nomination is Benedict Cumberbatch (Sherlock: The Abominable Bride). While the TV movie hasn’t received the nominations that other installments of the series have received, Cumberbatch has become a name and even won in the category two years ago.

    That leaves three more spots. I think I’m a lot more optimistic than most that Oscar Isaac (Show Me A Hero) will be nominated. I understand that it’s a little far removed from the fantastic year he had last year, but like Cumberbatch and Elba his name means a lot and I don’t think Emmy voters will pass up the opportunity to nominate him.

    I think at least one of the two actors from The Dresser will get in. Ian McKellan has kept up a higher profile than Anthony Hopkins, so I’m inclined to include him. But it also seems like the movie has no buzz around it. That’s why I’m worried that name recognition won’t be enough. Instead I think it’s going to a more high profile project.

    That leaves one last spot. It could either be Cuba Gooding Jr. (The People v. O.J. Simpson) who could get swept up along with the rest of the show. After all, he is play the juice himself. But I actually think it’s going to be Tom Hiddleston (The Night Manager). I feel like this show got so much buzz and Hiddleston has raised his profile recently.

    However, you can’t count our other contenders like Patrick Wilson (Fargo) or Bill Murray (A Very Murray Christmas). It feels odd not including Murray in a category when the movie was so buzzed about, but it feels just too far away.

    Check out my 2016 Emmy Predictions!

    My Predictions:

    Bryan Cranston (All the Way)
    Benedict Cumberbatch (Sherlock: The Abominable Bride)
    Idris Elba (Luther)
    Tom Hiddleston (The Night Manager)
    Oscar Isaac (Show Me A Hero)
    Courtney B. Vance (The People v. O.J. Simpson)***

    ***Predicted winner

  • 2016 Emmy Predictions: Supporting Actress in a Drama Series

    2016 Emmy Predictions: Supporting Actress in a Drama Series

    Supporting Actress in a Drama Series is going to be easy to predict the nominees, but the winner is going to be harder to guess

    I think Supporting Actress in a Drama Series is going to be one of the easier categories to predict. Only one spot is opening up with Christina Hendricks (Mad Men) out and I think the other five are pretty strong to come back.

    At the top of that list is Uzo Aduba (Orange is the New Black). Though I don’t think her show is really going to make an impact on the Emmys this year, Aduba is one element that I think will always hold on. She’s incredibly popular and is a strong representative for the show’s ensemble.

    After her, Christine Baranski (The Good Wife) will definitely be back for her final turn in The Good Wife (though she’s coming back for her own show as Diane Lockhart). Further than that though, I think she can finally win. She has a really meaty role this season and it feels so odd to think she leaves the series without a single win.

    From this point on we have to mainly piece together last year’s nominees with the potential new openings. I think of the two Game of Throne actresses, Lena Headey (Game of Thrones) is more likely to come back than Emilia Clarke (Games of Thrones). However, I think both are pretty solid to be nominated following the huge buzzed about season they’re coming out of. However, I think Headey had the stronger material this year and last year. This will make her very competitive for the win.

    I think the last couple spots are going to be a toss-up between two previous nominees and two newcomers. Dame Maggie Smith (Downton Abbey) was shockingly passed over for her co-star Joanne Froggatt. Though the final season received relatively good reviews, I don’t think that both are getting in. The smart money would be to go with Smith, but there was a reason Froggatt was nominated over Smith. While Smith is legendary, her role is one-note while Froggatt has some difficult dramatic material to tackle. I think she’s in.

    So that leaves one last spot to be battles out between Smith and two newcomers. The first, Rhea Seahorn (Better Call Saul) has the power of her show behind her and the potential to be taken along in a nominations sweep. And while she has done great work that she’s being lauded for, Constance Zimmer (unREAL) is really the supporting player in this category that was the true breakout on her show.

    Like with the last two spots in the comedy series category, it’s a fight between my head and my gut. My head says go with Seahorn, my gut with Zimmer. Also like comedy series, I’m going with my gut on this one. Plus, with the new ballot shake up, she’s going to be at the top of half the ballots.

    Check out my 2016 Emmy Predictions!

    My Predictions:

    Uzo Aduba (Orange is the New Black)
    Christine Baranski (The Good Wife)***
    Emilia Clarke (Game of Thrones)
    Joanne Froggatt (Downton Abbey)
    Lena Headey (Game of Thrones)
    Constance Zimmer (unREAL)

    ***Predicted winner

  • 2016 Emmy Predictions: Lead Actor in a Drama Series

    2016 Emmy Predictions: Lead Actor in a Drama Series

    Lead Actor in a Drama Series is the most unpredictable category at the Emmys this year

    Lead Actor in a Drama Series is a wide open category. Two of last year’s nominees, Jon Hamm (Mad Men) and Jeff Daniels (The Newsroom), are ineligible this year and only two seem like locks.

    The two actors that are locks for nominations are also the ones that are most competitive for the win. Kevin Spacey (House of Cards) seems to have just missed the win every year he was nominated. But with rivals Bryan Cranston and Jon Hamm out of the way, he has a clear path to finally nabbing the prize. Plus, his portrayal is so acclaimed that it’s just a matter of time before he wins.

    However, the one person he has to get through is Bob Odenkirk (Better Call Saul). Not only has he receive acclaim for his performance, the series is also riding on a strong wave of support. But they have to watch out for one other actor.

    Rami Malek (Mr. Robot) is safe to reap a nomination. His series going to come into the Emmys hot and he is coming off nominations at SAG, the Globes, and a win at Critics’ Choice. More than that though, I think he could actually upset the two frontrunners for a win.

    After them the category is blow wide open. Though Liev Schreiber (Ray Donovan) and Kyle Chandler (Bloodline) are both eligible, their shows haven’t made a hit with audiences or the Emmys. While I think that is going to affect Schreiber, Chandler should still be able to get in on name alone.

    That leaves two open spots. Assuming it goes the Friday Night Lights route, I think Matthew Rhys (The Americans) gets in pretty easily. He has been receiving strong and consistent reviews and is an industry favorite. Plus, with his show finally breaking through last year in writing, I think it’s finally time for him to grab a nomination.

    The last spot is going to be pretty tricky. A lot of people are predicting Emmy favorites Paul Giamatti and Damien Lewis from Billions. But is anyone really watching that show? While I understand they could get in on name alone, there just doesn’t feel like there’s any support behind them or the show.

    A show that I can see being embraced by the Emmys is Hulu’s The Path and its two leads: Aaron Paul and Hugh Dancy. I think Paul is more likely to be nominated, but it all depends on how the Emmys react to the network. If they don’t go with one of them it’s either going to be Bobby Cannavale (Vinyl) or Wagner Moura (Narcos) or Hugh Bonneville (Downton Abbey). Yes, the race is that open. I’m sticking with Paul for the last spot but this is the most unpredictable category of the year.

    Check out my 2016 Emmy Predictions!

    My Predictions:

    Kyle Chandler (Bloodline)
    Rami Malek (Mr. Robot)
    Bob Odenkirk (Better Call Saul)
    Aaron Paul (The Path)
    Matthew Rhys (The American)
    Kevin Spacey (House of Cards)***

    ***Predicted winner

  • 2016 Emmy Predictions: Comedy Series

    2016 Emmy Predictions: Comedy Series

    Newcomers will define the Emmy race for Comedy Series

    Comedy Series feels a lot more open than it actually is. While two of last year’s nominees, Louie and Parks and Recreation, are ineligible this year, the other five are returning. However, I think there is room for a lot of movement in the category especially with this new golden age of comedy we seem to be in.

    Last year’s winner Veep is locked to return. Despite a slow start to the season, it eventually picked back up to its peak quality. However, a win might be a bit harder to come by. When a show wins later in its run, it’s rare to see it go on a winning streak like shows that win in their first season. For example, Sex and the City and the city won for season three but didn’t win again. Will & Grace won for season two and never won again. Everybody Loves Raymond won for their seventh season, lost the next season, then won for their final season. The Office won for season two, but never won again. Seinfeld won for season four and never won again.

    Compare that to Fraiser, 30 Rock, and Modern Family, which all won for their first seasons and went on to go on a winning streak. The first and last of which hold the record for the most wins in this category.

    Now, I may be looking too far into this, but I really think there is a pattern here. The reason series win so late in their runs is because they deserve a win for that specific season. Sometimes there’s also the sense that the Emmys already gave them their due after they had to wait.

    If Veep doesn’t take it, then I think it’s going to be one of two series that does. The first is Black-ish as I mentioned in my predictions for Drama Series, it’s risky to predict a series that hasn’t been nominated before this high on your predictions, but I think Black-ish is in a unique position. First, it’s a series that features an all minority cast. In this year where diversity has been at the top of discussion that matters. Second, it has had two extremely strong and timely episodes that will be rallied behind in the both the writing and directing categories. Third, with Big Bang Theory snubbed last year multi-cam shows no longer have a representative in the category, blackish could fill that spot. Lastly, Anthony Anderson received a nomination last year. That means that the show is in discussion.

    I think in writing this I’ve convinced myself that they could actually win. Well, let’s move on.

    The second series that I think could beat Veep is Transparent. After a huge nominations haul last year and two major wins for lead actor and writing, they are in the perfect spot to launch into a series win. However, nominations will be very telling here. If they maintain or gain nominations, then I think they are going to be a threat. If they drop anywhere they should have easily gotten in, then they’re vulnerable.

    The next four contenders all have strengths and vulnerabilities. Five-time (bleh) winner Modern Family seems to have one more year in them. After being dropped down to only three major nominations, the show has lost a lot of steam. I really think that there could be a huge shock and they are snubbed. Some pundits are even predicting that already. However, I think they will have one last year left before finally bowing out of the race.

    After them a few streaming shows will be competing with an HBO show for the last few spots. Unbreakable Kimmy Schmidt had a huge nominations year last year, but after its premiere this year it feels like all the buzz fell away. Same goes for Master of None. However, I think both should be safely in because of the names behind them and, for the latter specifically, the strong critical acclaim.

    That leaves one last spot. Silicon Valley has proven to be a consistent contender. Despite their success, they haven’t been able to break into the acting races, which is often a prerequisite to winning a series award. They are the most vulnerable in my opinion including Unbreakable.

    But I think Hulu’s Casual is in a great place to sneak in. It has a strong name behind it in Jason Reitman and has received strong reviews. Its biggest drawback is that it’s on an untested network. While that was the argument we used for Amazon last year, the series didn’t have the same cultural impact that Transparent had.

    If I had to pick, my head would go with Silicon Valley for the last spot. But my gut is telling me that Casual is going to. For the sake of a gutsy pick I’m going with the latter.

    Check out my 2016 Emmy Predictions!

    My Predictions:

    Black-ish***
    Casual
    Master of None
    Modern Family
    Transparent
    Unbreakable Kimmy Schmidt
    Veep

    ***Predicted winner

  • 2016 Emmy Predictions: Drama Series

    2016 Emmy Predictions: Drama Series

    Five of last year’s Emmys’ Drama Series nominees should make it back in. Which one will be left off?

    Drama Series is a category that probably won’t have a lot of movement from last year’s line-up. Of course, Mad Men is out of the way which opens up a spot, but barring a huge shock, at least five other nominees from last year should return.

    Starting from the top, last year’s winner Game of Thrones is guaranteed to come back following a critically-acclaimed season. A win is also a strong possibility already. There isn’t a single contender that will have a rallying effect similar to the way that Game of Thrones had one last year when Breaking Bad left the race. However, the closest contender is looking to be Better Call Saul.

    While Saul doesn’t have the heat that the original series had, it certainly has the critical support behind it. I can see the series going one of two ways. The first option is that it explodes with nominations picking up acting nods (likely in supporting actress, supporting actor, and guest actor) and breaking into the directing race. The other direction is that it receives generally the same nominations as last year and possibly dropping out of writing. If it goes the first route then they are in contention for the win. If it goes that latter, then there chances diminish.

    After Saul, the most likely contender is Mr. Robot. I know it’s risky to predict a new show this high on the list. Sometimes it pans out like Homeland and sometimes it doesn’t like [insert show here]. However, the show has kept in the conversation all year with their wins at Critics’ Choice and the Globes. On top of that, the second season has been airing during voting, which renewed the conversation around the show. They’re looking to nab several nominations because of their smart submissions (they only submitted one episode for writing and directing) and cast (Malek and Slater have good chances in their categories). I’m not going to predict them for the win, but after Homeland’s surprise win for their first season there is a new sense that a hot new show is a threat.

    Lastly, I think Homeland is pretty soundly in the running. I don’t think they’ll win, but there has been enough critical heft behind the show for it to reap another nomination.

    After the top four, the next three become a bit murky. I can see all three easily getting back in, but I can also see any of the three dropping out. The least likely to go in my opinion is Downton Abbey. Despite slowly losing nominations, they’ve consistently been nominated for Drama Series and I doubt they will be dropped in their final season.

    If you asked my a few months ago whether House of Cards was going to be nominated, I’d go as far as telling you that I think it could actually win. However, the buzz has completely gone away. Their one saving grace is that despite being dropped from both the writing and directing categories, they still hauled in a healthy number of nominations and two wins last year. Both of which were surprises.

    The one show from last year’s line-up that I’m not as confident in saying will come back is Orange is the New Black. After a strong showing two years ago on the comedy side, last year they were cut down to three nominations. Though they did win in supporting actress, Uzo Aduba is such a popular actor that no one should have been surprised by her win. Looking at the possible trajectories, I can’t really see many that includes it in the line-up.

    So let’s say Orange misses. Who replaces them?

    Some pundits are betting on perennially ignored The Americans to finally make it in after getting a writing nomination last year. However, I think it may a be a bit too early in their rise to get a Drama Series nomination. Assuming they follow the Friday Night Lights trajectory, they should get acting nominations this year before finally getting a series nominations. That’s option one.

    Option two is a more left field choice. WGN’s Underground has been critically lauded and is going to get a strong campaign behind it.

    Lastly, Empire could make it in this year after being generally ignored last year save for a nomination for Taraji P. Henson. However, the Emmys are often a year behind so that buzz from the show last year may finally push it over the edge.

    So, who do I think it will be? I think The Americans will do it. It’s between them and Orange. However, the Emmys rarely go to plan, which is why I think the latter missing is more likely than getting a nearly identical line-up to last year.

    Check out my 2016 Emmy Predictions!

    My Predictions:

    The Americans
    Better Call Saul
    Downton Abbey
    Game of Thrones**
    Homeland
    House of Cards
    Mr. Robot

    **Predicted winner

  • The Invitation Movie Review — Easily one of the best thrillers of the decade

    The Invitation Movie Review — Easily one of the best thrillers of the decade

    Atmospheric and suspenseful, The Invitation is a blast to watch and easily one of the best movies of the year so far

    If you haven’t watched The Invitation yet, open up Amazon or iTunes and watch it right now. I’ve said it about other movies, but if I had to choose one movie for you to not know a single thing about before watching, it is this movie. You’ve been warned.

    I’m going to just come right out and say it. The Invitation is easily one of the best, if not the best movie of the year so far and one of the best thrillers in years. Nearly all the thanks has to be given to Karyn Kusama’s careful and increasingly tightening direction of the material. Starting with the opening. We open completely silent on Will (Logan Marshall-Greene) driving up a winding mountain road. As the sound slowly seeps back into the scene, we hear Kira (Emayatzu Corinealdi) telling him that they don’t actually have to go the dinner party they were invited to. They admitted to themselves that it was odd that they were invited considering they haven’t seen the hosts in a couple years. In a jump, Will hits a coyote and puts it out of its misery. However, it is shown in this gorgeously composed and claustrophobic shot before Theodore Shapiro’s Hitchcockian score suddenly breaks the silence.

    Once the couple reaches their destination, Will is immediately taken aback. The first part of the film really plays on an interesting look at grief and really makes you question what Will, and therefore you, are seeing. Since Kusama presents the film through Will’s lens, when the rest of the party stops seeing what he does you become frustrated like him. You support him, but in the back of your mind nags you that maybe Will is letting his grief get to him.

    Kusama is extremely patient. She doesn’t give too much. She isn’t one for theatrics. Instead, she uses strong imagery to make you feel off-centered. We have been wired to expect something explosive from a movie of this premise. We expect a moment where everything goes to shit. That puts you on edge. Whether it is Pruitt (John Carroll Lynch) carefully skulking in the background of a shot or a door being locked, nearly every beat that Kusama puts in makes you flinch because you have no idea what is going to happen. She plays her cards extremely close to her chest until she slaps them down on the table and then flips it. That’s how good the third act reveal is.

    Brian and I watched this movie purposely without watching the trailer or reading any plot description more than a sentence. During the movie, it led to a great discussion what we think is the end game. We were both completely thrown.

    In this new horror renaissance, it’s been established that you don’t need jump scare after jump scare to make an effective horror movie. Movies like It Follows, The Babadook, and The Witch prove that all you need is an atmosphere that unsettles you and makes you feel the anticipation of that big scare or terrifying image. That’s what The Invitation does so effectively. It waits and makes you question what kind of movie it is until it finally reveals itself in a beautiful finale. That’s what makes it truly one of the best movies of the year.

    ★★★★½ out of 5



    Watch “The Invitation” on Amazon!

  • Who Are the Early Frontrunners For Best Picture at the Oscars?

    Who Are the Early Frontrunners For Best Picture at the Oscars?

    early oscar frontrunners

    Sundance hit Birth of a Nation and Cannes breakout Loving are Early Oscar Frontrunners

    The Cannes Film Festival is just ending and for people not cool enough to attend, but are too geeky to not keep track of what the buzz coming out of there is (me) it also marks the real beginning of Oscar season. Out of Sundance we got titles like Birth of A Nation and Manchester by the Sea, but lately Cannes has really been a strong place to begin Oscar buzz. Just last year we got Mad Max: Fury Road, Carol, and Son of Saul from the festival, which all were nominated and for Max and Saul won Oscars. Just a few years ago in 2011 we had three movie out of Cannes nominated for Best Picture: Midnight in Paris, Best Picture winner The Artist, and Palme d’Ore winner The Tree of Life. This year, the biggest contender out of the festival has to be Jeff Nichols’ (Mud, Take Shelter) Loving, which tells the story of the couple whose Supreme Court case took down laws banning interracial marriage. First of all, it is an unfortunately timely story (unfortunately because we shouldn’t have to be talking about race in 2016), it could help the Oscars fix their image after the second straight year of #OscarsSoWhite, and it’s looking to be a major vehicle for both Joel Egerton and Ruth Ann Nega. Barring a huge controversy or poor reviews upon release, I really think that we’re looking at the very least a lock for nomination if not a contender for the win.

    The only other movie I can see factoring into the Best Picture race is Steven Spielberg’s The BFG. Reviews haven’t been exactly glowing, however it has been lauded as a fantastic technical achievement. In addition, Mark Rylance is once again being lauded for his performance after his surprise (or not too surprising to some of us) win last year. I don’t think it’s going to factor into the Best Picture race as a contender to win, but I think it’s going to be the nominee that receives a large amount of nominations and wins (a la Fury Road), but lose in the bigger races. Rylance is in a great spot for another nomination, however it’ll depend a lot on how the rest of the year shapes up. While he’s receiving raves, motion capture is not well-received by the Academy at all (just ask Andy Serkis).

    Outside the early festivals, there are a couple contenders that have already been released that could actually have a shot at a nomination. The first is Disney’s The Jungle Book. If The BFG is a box-office failure or reviews aren’t as glowing at its release, the company could turn their resources to a movie that was already tested earlier this year. With a huge box office that is set to cross the billion-dollar mark and consistent acclaim, it would have been an easier pick had it been later in the year. The Oscar fate of this film really lies in how hard Disney is going to push it. I have a feeling that they’re going to put their weight behind The BFG for the main awards, but if they’re smart they won’t forget to push jungle book for Visual Effects, Production Design, and possibly even an Adapted Screenplay or Director. It’s going to be one of those movies that’s going to be floating around my ninth, tenth, or eleventh slot, but I’d really keep an eye out for this one.

    As for the films we have not yet seen, a really easy one is Billy Lynn’s Long Halftime Walk. Why they didn’t shorten the title I do not know. However, it already has a lot going for it. First of all it has two-time Best Director winner Ang Lee behind it, and in typical fashion he’s tackling a genre and technology he has never used before. With different screen formats for different parts of the movie and even 3-D, it’ll be interesting to see how voters and critics react to the film. But based on the trailer I really think that this could finally be Lee’s movie that wins Best Picture (we’re not even going to mention the disaster that was the 2004 Oscars). Unlike his previous two pictures, it has the scale of Life of Pi, but the heart of Brokeback Mountain. While Pi of course did have heart and Brokeback had scale, it’s the balance of the two that I don’t think either had (among other things… *cough* straight people *cough*). What is going to hold him back is the controversy from Life of Pi’s campaign. Lee was heavily and publicly criticized by the Visual Effects industry for his comments relating to the value of their work and he has even been accused of having a hand in an entire company going bankrupt. Maybe enough time has passed that people have forgotten about it, but the fact that I’m talking about it now doesn’t bode well. Then again, I’m a geek that stores all this useless information in my head.

    Other contenders that I haven’t mentioned yet are Scorsese’s Silence, which isn’t being released until December. The Founder, which is looking like it’s going to be more of a vehicle for Michael Keaton, could be a contender despite it being moved from the awards-friendly October to August.

    One possibility that isn’t being talked about as much is Fences which is the David Mamet play that won the Tony for Best Revival of a Play as well as acting awards for Viola Davis and Denzel Washington. Both are returning to the roles with Washington directing. He hasn’t really been tested as a director. However, with strong source material and a potentially Oscar-worthy performance from Davis, it could be propelled into the Best Picture race. Its biggest hurdle is whether it will be ready in time.

    Other titles include the Jennifer Lawrence and Chris Pratt film Passengers, sci-fi drama Story of Your Life, and the Hudson River plane landing film Sully. Another contender could be Patriot’s Day, which tells the story of the manhunt following the Boston Bombing. While a 9/11 movie never made it to the Oscar stage, a movie about the manhunt behind it did: Zero Dark Thirty. That is the angle that I could see this movie taking. Though its director, Peter Berg, isn’t as tested as Kathryn Bigelow.

    Then there is the question of whether The Birth of a Nation is the strong frontrunner. I am going to say a hard no. While it is not unheard of to have a frontrunner this early in the season, we just don’t know enough about the movie to declare it an easy pick. Reception out of Sundance was great, however there were detractors that said that the movie needed work. The studio knows they have a great chance at the top prize, so like it was done with 12 Years a Slave, they are going to carefully fine-tune it to its best form. When we see that version I’ll be more willing to pick it.

    If I was going to make a gutsy pick, I’d give it to Billy Lynn’s Long Halftime Walk. I know we haven’t seen it, but Ang Lee has yet to make a bad movie in his career, and most importantly he is desperately overdue for a Best Picture win. We’ll just have to see what the awards season holds.

  • 2016 Emmy Predictions: Lead Actress in a Comedy Series

    2016 Emmy Predictions: Lead Actress in a Comedy Series

    Lead Actress in a Comedy Series is looking to have a major overhaul with an influx of contenders

    Lead Actress in a Comedy Series is really the category that I feel is going to be the hardest to predict. There are easily 11 legitimate competitors for the six spots. It’s a wide open category with three of last year’s nominees not eligible this year. I really can’t see a way that there aren’t 7 or 8 nominees in this category with the new rules.

    However, there are a few sure-fire candidates. Last year’s winner and four-time consecutive winner Julia Louis-Dreyfus (“Veep”) is sure to return, especially with the shows win in Comedy Series last year. Also assured to return is Amy Schumer (“Inside Amy Schumer”) who probably came thisclose to winning last year. It’s not surprising though considering the Academy tends to be a year or so behind the buzz. That’s why it took Tatiana Malany two years to break through in the Lead Actress in a Drama Series category. So, Schumer’s buzz could come to a head this year and get her the win.

    I’m also pretty confident that Ellie Kemper (“Unbreakable Kimmy Schmidt”) will have a much easier time getting in this year after being snubbed last year despite the show nabbing four acting nominations.

    The last three spots I can see being any arrangement of seven different contenders. However, with “Ghostbusters” and “The Boss” mixed with the fact that it’s the show’s last season, I think Melissa McCarthy (“Mike & Molly”) will probably get a goodbye hug. She seems to be the nominee that they throw in whenever there’s an open spot.

    After her, I think that there is going to be some new faces in the category. Rachel Bloom (“Crazy Ex-Girlfriend”), who won the Globe and Critics Choice earlier this year (not that it matters), has some momentum behind her.

    Conventional wisdom (or a sane person) would say that Lily Tomlin (“Grace & Frankie”) would get the nomination. However, I really think that “Black-ish” is going to surprise with a surge of nominations this year. That’s why I think Tracee Ellis Ross is going to make it in over Tomlin, Constance Wu (“Fresh Off the Boat”), and Anna Faris (“Mom”). Though, they could all easily make it in.

    Check out all our 2016 Emmy Predictions!

    My Predictions:

    Rachel Bloom, “Crazy Ex-Girlfriend”
    Ellie Kemper, “Unbreakable Kimmy Schmidt”
    Julia Louis-Dreyfus, “Veep”***
    Melissa McCarthy, “Mike and Molly”
    Tracee Ellis Ross, “Black-Ish”
    Amy Schumer, “Inside Amy Schumer”

    ***Predicted Winner