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‘Past Lives,’ ‘May December’ and ‘American Fiction’ Lead Spirit Award Nominations

US actor Charles Melton arrives for the premiere of "May December" at the Academy Museum of Motion Pictures in Los Angeles, California, on November 16, 2023. (AFP)
US actor Charles Melton arrives for the premiere of "May December" at the Academy Museum of Motion Pictures in Los Angeles, California, on November 16, 2023. (AFP)
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‘Past Lives,’ ‘May December’ and ‘American Fiction’ Lead Spirit Award Nominations

US actor Charles Melton arrives for the premiere of "May December" at the Academy Museum of Motion Pictures in Los Angeles, California, on November 16, 2023. (AFP)
US actor Charles Melton arrives for the premiere of "May December" at the Academy Museum of Motion Pictures in Los Angeles, California, on November 16, 2023. (AFP)

Celine Song’s "Past Lives," Todd Haynes’ "May December" and Cord Jefferson’s "American Fiction" got a leading five nominations, including best feature, from the Film Independent Spirit Awards. Natalie Morales and Joel Kim Booster announced the nominees Tuesday on a YouTube livestream.

Song’s quietly romantic film, starring Greta Lee and Teo Yoo as childhood friends who reconnect later in life, earned nominations for her direction, script and for both actors. "May December," about an actress preparing to play a Mary Kay Letourneau-like role got nods for Natalie Portman, Charles Melton and screenwriter Samy Burch. MGM’s "American Fiction," featuring Jeffrey Wright as a frustrated novelist, got recognition for Wright, Erika Alexander and Sterling K. Brown. Jefferson was nominated for his script but not for his direction, however.

It was a good morning for A24. In addition to the nominations for "Past Lives," the indie film company received 11 overall for "All Dirt Roads Taste of Salt,Earth Mama" and "The Zone of Interest." Kelly Reichardt’s "Showing Up" was also named winner of the Robert Altman Award, which is given to one film’s director, casting director and ensemble cast. Michelle Williams plays a small-time sculptor in the film, leading an ensemble that includes André Benjamin, Hong Chau, Judd Hirsch and Amanda Plummer.

Alexander Payne's "The Holdovers," about a curmudgeonly teacher played by Paul Giamatti, got four nominations including for cinematography, best screenplay, best supporting performance for Da’Vine Joy Randolph and best breakthrough for newcomer Dominic Sessa. Neither Payne nor Giamatti were nominated.

Directing nominees were: Andrew Haigh ("All of Strangers"); Ira Sachs ("Passages"); William Oldroyd ("Eileen"); and Haynes and Song.

The Spirit Awards limit eligibility to productions with budgets of $30 million or less, meaning films like "Oppenheimer,Maestro" and "Poor Things" did not qualify for nominations.

Lead performance nominees include Wright, Lee, Yoo, Portman, Jessica Chastain ("Memory"), Trace Lysette ("Monica"), Judy Reyes ("Birth/Rebirth"), Andrew Scott ("All of Us Strangers"), Franz Rogowski ("Passages") and Teyana Taylor ("A Thousand and One").

Supporting performance nods went to Noah Galvin ("Theater Camp"), Anne Hathaway ("Eileen"), Glenn Howerton ("BlackBerry"), Marin Ireland ("Eileen"), Catalina Saavedra ("Rotting in the Sun") and Ben Whishaw ("Passages"), in addition to the aforementioned Melton, Randolph, Brown and Alexander.

NFL veteran Marshawn Lynch was also nominated for his breakthrough performance in the wild high school comedy "Bottoms."

Films nominated for best international film include both Sandra Hüller films, Justine Triet’s "Anatomy of a Fall" and Jonathan Glazer’s "The Zone of Interest," from Poland, as well as Denmark/Iceland’s "Godland," Nigeria’s "Mama Wata" and Mexico’s "Tótem."

Last year’s big winner was " Everything Everywhere All At Once," which accepted seven awards including best feature, best director and acting prizes for Michelle Yeoh and Ke Huy Quan – categories in which it would go on to win Oscars.

Josh Welsh, the president of Film Independent, said the spirit awards look for films and shows that, "demonstrate the uniqueness of vision, original, provocative subject matter, economy of means and diversity, both on screen and off."

The Spirit Awards also recognize television series. The nominees include "Jury Duty," for best series and best ensemble cast, "Beef" for series, Steven Yeun and Ali Wong, and "The Last of Us" which got acting nods for Bella Ramsey, Murray Bartlett and Nick Offerman. Billie Eilish was also nominated for "Swarm."

Saturday Night Live’s Aidy Bryant is hosting the show, which will take place on Feb. 25 in Santa Monica, California. The awards will be streamed live on IMDb and Film Independent’s YouTube channels.

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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.