All posts by maddwolf

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Going Hungry

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A Banquet

by Hope Madden

From its unsettling opening moments, Ruth Paxton’s A Banquet sets a tone that never eases. Holly’s (Sienna Guillory) life is certainly never the same.

The event that kicks off the film puts a generational horror in motion that flirts with the supernatural, bringing allegorical focus to the rippling effects of trauma in a family. As a caregiver, Holly likely blames herself for what happened, which makes it harder for her to focus properly on mothering her two teenage daughters, Isabelle (Ruby Stokes) and Betsey (Jessica Alexander).

At first blush, it seems Betsey has the worst of things. Having witnessed the trauma, she’s been particularly needy of her mother’s affection. Or is she hoping to prove to her mother that, indeed, Mom’s love is the cure she’d hoped it might be? Is Betsey trying to prove that to herself?

Or is there some larger force at play, as Betsey claims when she stops eating?

Justin Bull’s screenplay braids ideas associated with this theme of trauma, from anorexia to neglect to guilt and grief and isolation. Details unfold slowly, uncovering lived-in resentments and traumas that heighten tensions.

Paxon sets these ideas loose among an exquisite cast. A brittle Guillory carries the unforgiving emotional complexity scene to scene with appropriate weariness. Alexander brings an enigmatic quality to the role, while Stokes mixes heartbreak with anger to surprising effect.

The great Lindsay Duncan, whose grandmother character haunts the first act and delivers a bracing presence throughout the second, is magnificent.

Paxon’s camera ogles food, which is a trigger in the film, both a tool for caregiving and for Betsey’s rebellion. There’s so much to like about A Banquet — which is why it’s such a frustrating film to watch.

Paxon can’t decide where to take things. She’s filled the screen with exceptional performances, each character exploring fascinating, dark emotional corners. The filmmaker flirts early with body horror, diverts quickly to something more psychological, dips deeply into family drama and never lands on a tone.

This same lack of clarity or commitment begins with Bull’s script, which builds slowly to an energetic if fizzling climax. For all it has going for it, A Banquet answers none of the questions it asks and leaves you wanting.

Fright Club

Fright Club: Nazi Zombies

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One of our favorite offshoots of the zombie genre revolves around the worst creatures there ever were: Nazis. Here we dip a toe in Zombie Lake (actually, that one doesn’t make the final list) and talk through our favorite undead SS.

5. Blood Creek (2009)

What would be more compelling viewing than Superman Meets Batman? Henry Cavill’s run-in with a Nazi zombie played by Michael Fassbender. Clearly.

In Joel Schumacher’s Blood Creek, a Nazi scientist finds a Viking runestone on a West Virginia farm, where blood sacrifice turns him into an ageless monster, and a weird, runestoney ritual keeps him bound in the farmer’s basement. That guy – that Nazi zombie – is played by Michael Fassbender. Whose mind is blown?

Cavill comes into the picture when his character Evan comes looking for a long-lost brother. He offers a fine turn full of longing and regret, and Fassbender is mesmerizing. The guy cannot turn in a bad performance. He’s completely feral, totally unhinged. It’s like he has no idea that the movie he’s in is just not good.

4. Outpost (2008)

By 2008, the idea that the Nazis fiddled with occult ideologies in order to create a perfect killing machine was pretty played out in this subgenre. Steve Barker’s Outpost goes one further by embracing both that cliche and a tried-and-true action formula.

Is the result cookie shaped? It is, and yet the film benefits from an ensemble unafraid to exceed expectations and a cinematographer (Gavin Struthers, The Witcher series) who knows how to amplify claustrophobic tensions.

Ray Stevenson (Thor) stars as leaders of a group of mercs hired by a mysterious man to venture into the woods toward an old bunker. No reason to worry! Excellent support from Michael Smiley, Richard Brake and Julian Wadham round out a cast that works the hell out of this script.

3. Shock Waves (1977)

Wait, Peter Cushing AND John Carradine? Plus Nazi zombies? What kind of gift is this?!

Cushing is the SS Commander holed up on a deserted island since the war. He’s not in hiding, necessarily. He’s moored himself there on purpose to save us all from…something worse than Nazis.

Maybe the first Nazi zombie film on record, Shock Waves deserves credit for not only pioneering the idea but also sidestepping what would eventually become cliche. The makeup effects are simultaneously terrible and awesome. And as dumb as much of the script is, director ken Wiederhorn (Return of the Living Dead) lenses some genuinely creepy segments of the troops.

2. Overlord (2018)

Overlord drops us into enemy territory on D-Day. One rag-tag group of American soldiers needs to disable the radio tower the Nazis have set up on top of a rural French church, disabling Nazi communications and allowing our guys to land safely.

What’s on the church tower is not so much the problem. It’s what’s in the basement.

A satisfying Good V Evil film that benefits from layers, Overlord reminds us repeatedly that it is possible to retain your humanity, even in the face of inhuman evil.

Plus, Nazi zombies, which is never not awesome!

1. Dead Snow (2009)

Like its character Erlend, Dead Snow loves horror movies. A self-referential “cabin in the woods” flick, Dead Snow follows a handsome, mixed-gender group of college students as they head to a remote cabin for Spring Break. A creepy old dude warns them off with a tale of local evil. They mock and ignore him at their peril.

But co-writer/director/Scandinavian Tommy Wirkola doesn’t just obey these time-honored horror film rules, he draws your attention to them. His film embraces our prior knowledge of the path we’re taking to mine for comedy, but doesn’t give up on the scares. Wirkola’s artful imagination generates plenty of startles, and gore by the gallon.

Spectacular location shooting, exquisite cinematography, effective sound editing and a killer soundtrack combine to elevate the film above its clever script and solid acting. Take, for example, the gorgeous image of Norwegian peace – a tent, lit from within, sits like a jewel nestled in the quiet of a snowy mountainside. The image glistens with pristine outdoorsy beauty – until it … doesn’t.

The Screening Room

Screening Room: Death on the Nile, Marry Me, I Want You Back & More

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Death on the Nile, Marry Me, I Want You Back, Blacklight, Alone With You, Catch the Fair One, Bite Me, A Grand Romantic Gesture, The Fabulous Filipino Brothers, Oscar Noms

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Blood Red Tape

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Bite Me

by Cat McAlpine

Sarah Woods is a vampire. She doesn’t turn into a bat or shy away from crucifixes. She’s just a normal human being who feels better after she’s had a few drops of blood. Her roommate Chrissy has always been transfixed by other people’s blood. Her other roommate Lily likes to drink blood because it helps her embrace her otherness. Together, the three women make up The House of Twilight. And they’re being audited by the IRS.

Naomi McDougall Jones both wrote the script and stars as Sarah, masterfully embodying a woman who is both proud of who she is and frequently uncomfortable in her own skin. Christian Coulson plays a pleasantly plain foil as James, the IRS agent. While Bite Me keeps a toe in weird at all times, it’s a cut and dry romcom. Boy meets girl, they begin an antagonistic relationship that quickly evolves into something more, boy screws it up… you’ve seen the movies.

A lot of the charm of Bite Me is that Sarah never lets you forget that she drinks blood, and that isn’t going to change. It’s both taboo and harmless, repulsive and beautiful. It’s a young pretty girl with a Mike Tyson face tattoo.

Director Meredith Edwards keeps the camera tight and allows a cast of cooky supporting characters to expand the universe. This is the second venture by the writer/star and director duo after their 2014 Imagine I’m Beautiful.

This creative team has gotten a handle on crafting honest and unique stories, best highlighted here by a surprisingly beautiful moment between Sarah and James. The IRS agent whispers his idiosyncrasies to the vampire as they have sex for the first time, and the doubling down of intimacy was a shining moment.

Edwards and Woods never take the story too seriously. James stumbles home from a vampire ball, cape secured around his neck, to find his middle-aged roommate leading her prayer group in reflection about the blood of Christ. Annie Golden is a consistently fun addition as the patronizing Faith.

In another scene, roommate Chrissy (an enigmatic Naomi Grossman) is very proud of her new fake fangs, but they make it nearly impossible for her to choke down her morning cereal.

The film is a refreshing watch with a great reminder to embrace your weird.

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Wedding Bell Blues

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Marry Me

by Hope Madden

Just two short years ago we thought Jennifer Lopez had a good shot at an Oscar nomination for her layered turn as stripper entrepreneur Ramona in Lorene Scafaria’s Hustlers. Would she, like Ben Affleck, build on that success with more complex, emotionally satisfying supporting roles? Or would she make Marry Me?

Sigh.

Marry Me is a Jennifer Lopez movie from the word go. Actually, director Kat Coiro’s film is even more of a JLo movie than her other countless rom coms about a wildly beautiful but down-to-earth woman who’s just a romantic at heart.

Marry Me wraps a set of music videos around a peek into the world of a globally successful if under-respected musical diva who gets married a lot. So, it’s about as meta as the latest Scream.

Lopez’s character name is Kat Valdez, and Kat’s new single “Marry Me” is a tribute to her love with fellow musical phenom Bastian (Maluma). They will be wed onstage in front of a sold-out NYC crowd and streamed for tens of millions of people around the globe.

Until she doesn’t. She picks some kid’s dad (Owen Wilson) out of the audience and marries him instead.

Premise Beach!

As idiotic and contrived as that sounds—and as the trailer made it look–Marry Me delivers some charm. That has very little to do with the plot or its obvious trajectory, and it doesn’t really have much to do with the chemistry between Lopez and Wilson (which is lacking, honestly).

Harper Dill and John Rogers’s screenplay, based on Bobby Crosby’s graphic novel, pulls you in by treading on Lopez’s public persona. Well-placed Jimmy Fallon cameos create a sense of what it must be like to live, succeed and fail so very publicly. Compare this to Charlie (Wilson) and his hum-drum life of a math teacher, and the two-different-worlds romance is set.

Lopez’s acting is as superficial as the film requires. Wilson delivers a performance as characteristically quirky and goofy as expected. (Though he never once says wow, and let’s be honest, this character would say wow.)

Supporting turns from Sarah Silverman, Chloe Coleman and John Bradley help overcome a sparsity of laughter.

Is Marry Me an opportunistic music video/hit single/Valentine’s Day date bundle orchestrated by a savvy business mogul? It is. And it’s fine. Plus, if it goes well, maybe she’ll take on another really good character next time.

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Break Up to Make Up

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I Want You Back

by George Wolf

If we’re gonna start talking about I Want You Back, we can’t start at the start, we have to start at the finish. Because no matter what you think about the film’s first 100 minutes, the last five may seriously turn your head.

But before that Linda Blair moment, Emma (Jenny Slate) and Peter (Charlie Day) first meet in the stairwell of their office building. Emma works for an Orthodontist, Peter’s with a retirement home company, and they both just got dumped. Noah (Scott Eastwood, finally doing more acting than posing) left her for Ginny (Clark Backo), Anne (Gina Rodriguez) left him for Logan (Manny Jacinto), and the two new “sadness siblings” are all in their feelings.

So they start hanging out, giving each other enough emotional support to eventually devise a plan. Emma will throw herself at Logan, while Peter (admitting he’s not hot enough to go after Ginny) will make friends with Noah so he can steer him back to Emma. And with that, the Break Up So We Can Make Up game is on!

We all know where this is going, right? If we’ve seen a romantic comedy we do, and once again the trick lies in finding some way to make the characters and their journey to love worth rooting for.

Screenwriters Isaac Aptaker and Elizabeth Berger (the writing duo behind the terrific Love, Simon and TV’s This Is Us) pair with director Jason Orley for a solid game plan, but it’s the irresistible chemistry of Slate and Day that keeps this madcap setup consistently engaging.

Slate is such an underrated talent. Once again she’s able to confidently take a character from hi-jinx (like the proposed threesome with Anne and Logan) to humanity (an unexpected friendship with a withdrawn kid) while making us care enough to welcome all of it.

And while Day is basically bringing another variation of his usual schtick, it’s still funny and, when paired with Slate, endearing.

Which brings us back to that ending, one that lands with such a thud I was really hoping it was merely a dream sequence. Any semblance of nuance or modern perspective on romance is suddenly replaced with the easiest, most rushed and shallow wrap up this side of a TV sitcom – with a set design to match.

What happened to that other movie? We had a nice thing going, and then it just ghosted us! Come back, I know it can work!

Hmmm…maybe we should hatch a plan.

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Among the Missing

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Catch the Fair One

by Brandon Thomas

In 2016, a study by the National Crime Information Center found that out of a reported 5,712 cases of missing American Indian and Alaska Native women, only 116 cases were in the databases of the U.S. Department of Justice. The investigations into these missing women are often impeded by the lack of communication between federal, local and tribal law enforcement.

Filemaker Josef Kubota Wladyka uses this real-life scenario to deliver a thoughtful – but thrilling – tale of guilt, regret and closure. 

Kaylee (Kali Reis) was once a promising amateur boxer. Her life fell apart though when her younger sister, Weeta (Mainaku Borrero), went missing while walking home one night. Years later, a struggling Kaylee is still searching for her sister. Desperation and guilt lead Kaylee down a dark path – one that she hopes will end with her finding Weeta alive. 

Catch the Fair One focuses on the important issue of missing indigenous women but does so through the guise of a revenge flick. This film is brutal. In the world of the movie, the innocent are prey and the villainous predators are always lurking and usually slinking back to the suburbs.

Wladyka makes his feature debut with stunning confidence. The neatness of the storytelling is as precise as it is dark. The tonal control is extraordinary as the film straddles the line between genre and drama without fully embracing either. Catch the Fair One is heavily reminiscent of Jeremy Saulnier’s terrific Blue Ruin.

The ordinary nature of the villains is chilling. Their nonchalant attitude toward dealing in sex slavery is enough to cause the hair on the back of your neck to stand up.

Wladyka gets extra mileage out of casting Kevin Dunn (Transformers) and Daniel Henshall (The Snowtown Murders and The Babadook) as father and son bad guys. Dunn is especially disarming with the baggage he brings in this type of role. He’s one of the more recognizable “Hey, it’s that guy!” actors working today, and those roles aren’t typically this bloodthirsty. 

The real standout is Kali Reis. Being Reis’s first acting role, it would be easy to sit back and nitpick every acting decision she makes along the way. Fortunately, Reis’s vulnerability mixed with sheer intensity never allows for that kind of surface scrutiny to take place. 

She’s more than capable in the physical scenes, but it’s in those softer moments where Reis shows her quiet determination that feels so in sync with the character’s state of mind and her eventual plan. 

With a thrilling story and a knock-out lead performance, Catch the Fair One announces itself as one of the best movies of the year so far.

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Murder Was Again the Case

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Death on the Nile

by George Wolf

“He accuses everyone of murder!”

“It is a problem, I admit.”

This playful admission by legendary detective Hercule Poirot (Kenneth Branagh) is one of the ways Death on the Nile has some winking fun with the often used, often parodied Agatha Christie formula.

And since Christie’s source novel is one of the works that perfected that formula, it’s smart to acknowledge some inherent campiness while you’re trying to honor the genius of the original construction.

After his successful revival of Murder on the Orient Express in 2017, Branagh is back to again star, direct, and team with screenwriter Michael Green for another star-studded, claustrophobic whodunit.

This time we’re aboard a lavish cruise down the Nile in the late 1930s. Wealthy heiress Linnet Ridgeway (Gal Gadot) has just married the dashing Simon Doyle (Armie Hammer), and they’ve invited a group of friends and family (including Annette Bening, Sophie Okonedo, Russell Brand, Jennifer Saunders, Letitia Wright and no-that’s-not-Margot- Robbie-it’s Emma Mackey) to help them celebrate.

Ah, but love and money bring “conflicting lies and jealousies,” and soon Linnet proves wise in putting the world’s greatest detective on the guest list. Murder is again the case!

And when Hercule Poirot is on it – which takes a while – Branagh and Green craft a capable reminder of what makes this formula so sturdy. From the discovery of clues to the requisite red-herring accusations, it’s just fun to feel part of Poirot’s deductive process.

But while Branagh and cinematographer Haris Zambarloukos expertly utilize the confines of the ship to their advantage, the surrounding locales smack of outdated CGI and land as a disappointing stand-in for the eye-popping wonder of Orient Express.

Branagh and Green also try valiantly to weave a layer of love through the mystery. Opening with a prologue that introduces a decades-old pining (along with Poirot’s keen eye for detail and a dubious inspiration for that mustache), the film’s ambitions for this added narrative weight are worthy, but ultimately add more running time than substance.

The epilogue that checks in with Poirot six months after the cruise lets us know Branagh may have more Christie mysteries on his itinerary, and that’s not a bad thing. Death on the Nile proves that a trusty return to glamour and intrigue can still overcome some excess baggage.

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Star Crossed

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A Grand Romantic Gesture

by Rachel Willis

After losing her career, Ava (Gina Mckee) seeks fulfillment from a community drama course in writer/director Joan Carr-Wiggin’s film, A Grand Romantic Gesture.

The film opens with a confession, as we quickly learn Ava has fallen for her classmate, Simon (Douglas Hodge). Though both married, their connection grows as the two discover similar dissatisfaction with where life has brought them.

Mining the desires and dizzying highs of illicit love from Romeo and Juliet, Carr-Wiggin applies the famous love (lust?) story to a man and woman in their 50s.

Though not the first film to explore mature love, A Grand Romantic Gesture might be the first to portray Romeo and Juliet as middle-aged. Though the approach is subtly humorous in how it comments that heady love isn’t just for the young, R&J’s smoldering passion just isn’t there. There’s no doubt these characters care for each other, but when the film tries for something more passionate, even reckless, it doesn’t land. Rather than mirroring the high drama of young, forbidden love, it comes across as silly.

Layered onto the story, are Real World-style confessions. The confession room segments might have worked if they’d stayed with Ava, but the snippets become an unnecessary drag on an otherwise steadily rolling story. The things revealed in the confessionals are more artfully delivered via dialogue and body language.

The movie’s tone never decides where to settle, veering from optimism to cynicism with each changing scene. Is one too old to find love? Or does age bring freedom from the pressure of staying for the sake of children?

There are some funny moments in the story, but the dizzying shifts from rom-com to passionate drama are hard to accept. The film might have benefited from a continued light touch in its references to Shakespeare’s famous tragedy.

Though earnest in their roles, McKee and Hodge never successfully convince us of their fervor for each other. Unfortunate for a film with such an ambitious title.

Outtakes

2022 Academy Award Nominations

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by Hope Madden and George Wolf

Not a ton of surprises in this year’s Oscar nominations. Maybe we’re lucky there were so many good films to choose from, given the brief nominating window this year. Because of Covid, last year’s contenders had 14 months to find a release. To make up for that and get us back on track, the eligibility window for 2021 was just 10 months.

Still, the academy decided to go ahead and abandon their unpopular “there could be 10 best picture nominations, but probably not) to the more easily understandable “yep, 10.” And yet, still no blockbusters made the list.

But the really important question is this: what do we think?

Best Actress in a Supporting Role

Nominees:

  • Jessie Buckley, The Lost Daughter
  • Ariana DeBose, West Side Story
  • Judi Dench, Belfast
  • Kirsten Dunst, The Power of the Dog
  • Aunjanue Ellis, King Richard

Surprises and Snubs: The biggest surprise is Caitriona Balfe, who was the front runner (and reasonably so) to get recognized in this category for Belfast. We’d have swapped Balfe in and left Dench off. But for us, Ruth Negga’s turn in Passing is just as big an oversight and as much as we loved Buckley in The Lost Daughter, we’d have given her spot to Negga.

Best Actor in a Supporting Role

Nominees:

  • Ciarán Hinds, Belfast
  • Troy Kotsur, CODA
  • Jesse Plemons, The Power of the Dog
  • J.K. Simmons, Being the Ricardos
  • Kodi Smit-McPhee, The Power of the Dog

Surprises and Snubs: While this is a solid list, we’d leave out Simmons and Hinds in favor of Mike Faist in West Side Story, Ben Affleck in The Last Duel or Colman Domingo in Zola.

Original Score

Nominees:

  • Don’t Look Up
  • Dune
  • Encanto
  • Parallel Mothers
  • The Power of the Dog

Surprises and Snubs: For us, this is the year Jonny Greenwood should have been nominated twice (maybe three times!). Great to see his deserving nod for The Power of the Dog, but we’d have bumped him in there for Spencer as well, perhaps in leu of Nicholas Britell’s work in Don’t Look Up.

Best Adapted Screenplay

Nominees:

  • CODA
  • Drive My Car
  • Dune
  • The Lost Daughter
  • The Power of the Dog

Surprises and Snubs: We were surprised not to see Tony Kushner’s update of West Side Story get noticed, and we were sad that Rebecca Hall’s insightful reimagining of Ella Larson’s novel Passing was left off the list. Joel Coen’s streamlined The Tragedy of Macbeth also deserved a spot. We would have given them the spots filled by Dune and CODA and maybe The Lost Daughter.

Best Original Screenplay

Nominees:

  • Belfast
  • Don’t Look Up
  • King Richard
  • Licorice Pizza
  • The Worst Person in the World

Surprises and Snubs: We were surprised—delighted, really—to see The Worst Person in the World and Don’t Look Up recognized. We would have left King Richard off in favor of Michael Sarnoski’s Pig or Mike Mills’s C’mon C’mon, but that’s just us.

Best Original Song

Nominees:

  • Be Alive, King Richard
  • Dos Oruguitas, Encanto
  • Down to Joy, Belfast
  • No Time to Die, No Time to Die
  • Somehow You Do, Four Good Days

Surprises and Snubs: Oh, how we wanted Ariana Grande’s Just Look Up to make this list! Man that would have been fun to hear during the broadcast. We’d have given it Reba’s spot with Somehow You Do.

Best Cinematography

Nominees:

  • Dune
  • Nightmare Alley
  • The Power of the Dog
  • The Tragedy of Macbeth
  • West Side Story

Surprises and Snubs: This had to have been the toughest category. There were so many unbelievable feats of cinematography this year. Belfast and Passing were both utterly glorious, but even we are not sure who we’d bump to fit them in.

Best International Feature

Nominees:

  • Drive My Car, Japan
  • Flee, Denmark
  • Hand of God, Italy
  • Lunana: A Yak in the Classroom, Bhutan
  • The Worst Person in the World, Norway

Surprises and Snubs: Here is the other stacked category for 2022. The fact that three of these films —Worst Person in the World, Flee and Drive My Car—are all nominated in other categories makes predicting a winner here very tough. But the surprise has to be Bhutan’s Lunana: A Yak in the Classroom. Since we haven’t seen it, we wouldn’t suggest that it is not deserving. The surprise is that Parallel Mothers from Pedro Almodovar is missing.

Best Documentary Feature

Nominees:

  • Ascension
  • Attica
  • Flee
  • Summer of Soul (…or, When the Revolution Could Not Be Televised)
  • Writing with Fire

Surprises and Snubs: Really surprised not the see The Rescue here, probably in place of Writing With Fire.

Best Animated Feature

Nominees:

  • Encanto
  • Flee
  • Luca
  • The Mitchells vs. The Machines
  • Raya and the Last Dragon

Surprises and Snubs: It would’ve been great to see Crytozoo, The Summit of the Gods or even Vivo sneak in, but this list will do.

Best Actor

Nominees:

  • Javier Bardem, Being the Ricardos
  • Benedict Cumberbatch, The Power of the Dog
  • Andrew Garfield, Tick…Tick…Boom!
  • Will Smith, King Richard
  • Denzel Washington, The Tragedy of Macbeth

Surprises and Snubs: No surprises here. We would have given Smith’s spot to Nicolas Cage for his crushing performance in Pig.

Best Actress

Nominees:

  • Jessica Chastain, The Eyes of Tammy Faye
  • Olivia Colman, The Lost Daughter
  • Penelope Cruz, Parallel Mothers
  • Nicole Kidman, Being the Ricardos
  • Kristen Stewart, Spencer

Surprises and Snubs: When Caitriona Balfe did not get a supporting actress nomination, we figured the Academy has deemed her role the lead. When she didn’t get a spot here—which we’d have given her over Kidman—we were saddened. But at least KStew made it. We were worried.

Best Director

Nominees:

  • Kenneth Branagh, Belfast
  • Ryûsuke Hamaguchi, Drive My Car
  • Paul Thomas Anderson, Licorice Pizza
  • Jane Campion, The Power of the Dog
  • Steven Spielberg, West Side Story

Surprises and Snubs: There are always reasons to complain, especially in this category. We have chosen not to this year. Well done.

Best Picture

Nominees:

  • Belfast
  • CODA
  • Don’t Look Up
  • Drive My Car
  • Dune
  • King Richard
  • Licorice Pizza
  • Nightmare Alley
  • The Power of the Dog
  • West Side Story

Surprises and Snubs: They went the full 10, even in a year with fewer candidates, and still, not one moneymaker? No Spider-Man: No Way Home. No No Time to Die. More importantly, though, where is The Tragedy of Macbeth? That’s the one we’d have made room for, probably in place of Dune or King Richard.

See who takes home the hardware on Sunday, March 27 at the 94th Academy Awards on ABC and Hulu.