So it's awards season once more, a time of wondering how many movies these voters actually watched. There is a very cynical way of looking at awards shows, but the truth is they encourage a discussion and are fun as hell to follow, and with the Oscars upon us once more, I'd like to weigh in with what I make of the soon to be winners and losers of the 92nd Academy Awards. On the whole, it's a stronger lineup than last year (I like every single nominee I've seen more than Green Book), and every category contains something genuinely interesting, and is still largely representative of some of the year's biggest films. Wait, NOTHING for Hustlers? Seriously? Yeah, female-helmed films are still being almost totally snubbed, and that's still both infuriating and absolutely ridiculous, but apart from that, it's hard to point out any massive issues with this year's nominees. Maybe it's not the definitive lineup in any of these categories- there are definitely some I'd swap out- but it's hardly bad, and there's a lot to talk about here, so let's get into it! Quick note, I'm note really gonna focus on the technical awards so much- it's not something I feel educated enough to comment on
So first up there's the nine nominees for best picture, and before I get into this it's worth noting that I haven't seen Parasite, but from everything I've heard, it definitely deserves its nomination. Not sure how good its chances of winning actually are, given the Academy's bias towards English language films, but it's awesome to see it nominated nonetheless. I'm a huge Bong Joon-Ho fan, and seeing him get so much recognition at so many awards ceremonies has been a real treat. Again, its the one nominee here that I can't actually speak for, but it very much looks like something I'd enjoy, and I'm really happy to see a filmmaker with such a unique, effective style finally get recognised for how great he is
If I'm being honest, Ford v Ferrari's nomination is definitely a surprise. I liked the film an awful lot, and its mix of quiet, sturdy drama and roaring race sequences was undoubtedly fantastic, but the fact that it was kind of disappearing at most of these ceremonies makes its best picture nomination kind of unexpected. It definitely feels like something that would have been nominated in the 70s, and the "they don't make 'em like that anymore" narrative is definitely a strong one for awards season. I mean, there's no reason it shouldn't be up, it's bolstered by earnest, powerful performances and contains some incredible action sequences, but it just seems to lack the cultural pull that the other nominees have. As much as I loved it, it didn't make the same kind of splash that the others did, so the fact that it got this kind of recognition is kind of awesome. I loved Ford v Ferrari, and thought is chances of winning are pretty much nil, knowing that they remembered to nominate it for best picture still feels pretty nice
The Irishman's nomination is a no-brainer, right? I mean any Scorsese film is going to get some kind of recognition anyway, but the heft of The Irishman, from its literally legendary cast to its weighty subject matter, meant that a best picture nomination was a sure thing. It'd be so great for this to win, if only because we probably won't get something like this for some time. Add to that the sheer proficiency of it, both in Scorsese's measured direction and those notorious de-ageing effects, and you've got what could be a strong contender for best picture. Even if it's kind of familiar territory for Scorsese, the weight of it and the impact of it, mean that, even if it doesn't revinvent the wheel, it does redefine it, delivering a recognisable gangster film in a way that reminds us why the genre is such a staple to begin with. Not to mention that cast, with some absolute legends that are bound to attract some Oscar heat, and you've got what could be a very likely shot at the big one. I love The Irishman, and if it did win, I'd be so damn happy, because it's one of the king's very best, and its slow burning, sobering meditation on sin and ageing is definitely worth celebrating
Jojo Rabbit is my favourite film of 2019, and even if it has no hope of winning best picture, at all, even just seeing it nominated is a real joy. Taika Waititi's style really is one of a kind, and his absolute command of the tone here means that this maybe his best ever, with a message that's really worth celebrating. The earnestness and the creativity of Jojo mean that its nomination here feels like the Academy recognising something that really feels significant, and different, and exciting. I know not everyone loves it, and that will definitely work against it here (although check out the next one), but honestly, a film like this is not the sort of thing that the Academy would ever give its top prize to anyway, so that's alright. Just the fact that they're celebrating a film that delivers such an important message in such a creative way is great in itself.
Joker is by far my least favourite of these nominees. Its award success isn't surprising, considering Joaquin Phoenix's incredible performance (which he's rightfully being lauded for), but I just don't think there's anything remarkable enough about this film to make it worth celebrating in this way. I can't see it winning Best Picture, for a host of reasons (the controversy, the competition, hell even the genre might hold it back), and I know its only nominated because of its lead performance. There's no way that he's not winning Best Actor, but I'll get to that later. The fact that this is the most nominated film is a little strange to me, because, although it's far from bad, it's also not half as good as most of the movies that missed the cut. I don't know, between its general average-ness and the grim, cynical tone, it just doesn't feel worth celebrating as a film. I know the reason why it's up for Best Picture, but it's definitely one of the least deserving nominees for me
Little Women feels like the safe option this year; everyone likes it, it hasn't attracted any major criticism for anything, and it's based on a treasured, familiar piece of literature. That's not a bad thing though, because it's fantastic, with a strong personality and a clever way of spreading its message. Being the safest choice isn't always a bad thing, and it's great to see Greta Gerwig's savvy take on this story being recognised. Its warm, wholesome, instantly accessible vibe makes it a strong contender, and I don't think anyone would be massively upset if it did win. Gerwig's followup to Lady Bird is seeing her on similarly awards-favoured form, and although Lady Bird wasn't exactly my tempo, Little Women very much is, and just to have just a cheerful, sweet, intelligent film recognised in this way is great, and if it did win, I'd be very happy indeed
I love seeing Noah Baumbach being recognised for Marriage Story, even if the film itself is far from being a favourite of mine. Much like Joker, I think it's the performances that are attracting the bulk of the heat, yet the script is sharp here and the drama is well realised enough to make it a Best Picture nominee that is at the least understandable. Its forensic, Bergman-esque approach to its story is undeniably great, and even if I didn't 100% gel with it, I love that it's nominated, because it is one of the more impressive nominees. Between this and The Irishman, it's great to see Netlfix establishing themselves as a distributor who can have this kind of awards success, something that would be almost unimaginable a few years ago. So yeah, I'm happy for Marriage Story. It's probably not going to win, but it's recognition is a good way of celebrating a routinely snubbed filmmaker
1917 is far and away one of the frontrunners for Best Picture, and.... well... yeah. It's technically the best one of the bunch, and the experience it provides is a really persuasive argument for the big-screen experience. It's not my favourite of the nominees (or even my favourite nominee set during a war), but it is such an impressive piece of work, and calling it the objective best film of the year isn't too much of a stretch. Its chances are very strong, and Mendes has the magic touch when it comes to the Oscars anyway (dude won BP with his freaking debut), so I wouldn't be surprised if Blake and Schofield come bounding across no man's land with the top prize of the night. The long-take thing has led some to dismiss it as a pure experiment, but I don't know, I think it's more than that, and right now, it seems like one of the most likely films to win, along with....
Once Upon a Time in Hollywood is maybe my top prediction. Hollywood loves stories about Hollywood, and the Academy like Tarantino, so the signs are all there. This is my favourite nominee after Jojo, and seeing it win would be kind of amazing. This is Tarantino's warmest film yet, such a clear-eyed but obviously passionate take on the movie industry that contains his best writing since Inglourious Basterds. It's also got THAT cast, who give it enough star wattage to get him back out of the not-very-Oscarsy-niche that The Hateful Eight found itself in. Its nomination, like most of these, is not a surprise, but this one in particular feels right, and could mark the first BP win for a director who, love him or loath him, has reshaped both indie and mainstream cinema and redefined big-screen cool as we know it
So that's the Best Picture lineup. Ford v. Ferrari is a definite surprise, but apart from that, I can't really call this unexpected. There are omissions of course; Uncut Gems, Us, Hustlers, Ad Astra, Knives Out, A Hidden Life and The Farewell in particular all feel like they could have been up there as well but just about fell short. There's a sense here that the Academy are embracing different films a little bit more every year, particularly in recognising Jojo and Parasite, both of which are films that lie firmly outside of that typical "Oscar Movie" stereotype. There aren't too many that seem out of place, just Joker which is still a better performance than it is a whole film. Even in recognising stalwarts like Scorsese, Tarantino and Mendes, it feels like a celebration of the work moreso than the director. It's also great to see Greta Gerwig be two-for-two with her films getting Best Picture nominations now, as well as Noah Baumbach finally getting a look in for what is possibly his best script ever. My ranking looks something like this:
8. Joker
7. Marriage Story
6. Little Women
5. Ford v. Ferrari
4. 1917
3. The Irishman
2. Once Upon a Time in Hollywood
1. Jojo Rabbit
So now let's move onto the acting awards, starting with Best Actor. And again, it's exactly what you'd expect. Banderas, DiCaprio, Phoenix, Pryce and Driver. I haven't seen Pain and Glory yet (although I like Almodóvar a lot), but I've heard Antonio Banderas is fantastic in it. Leo gives maybe my favourite performance of the bunch here as Once Upon a Time's Rick Dalton, all washed-up, over-the-top pettiness, while also embodying an era of unsung acting heroes. The fact that he's probably going to lose is also very Rick Dalton. His isn't the best performance nominated, it's just the character I had the most fun spending time with. It is going to go to Joaquin Phoenix though, the one thing about Joker that was undoubtedly fantastic. He's undeniably great, maybe not my favourite performance here (largely due to the context of the film it's in), but I'm a big Phoenix fan, and watching him get his recognition on the night is going to be great. I think Jonathon Pryce's nomination is great as well, especially because, well, it's Jonathon Pryce and he's amazing (#ThePryceIsRight). His Pope Francis is excellent, perfectly capturing the man and his mannerisms, and doing so in five different languages. He gives what I think is the best performance of this lineup, quiet and sensitive and uncannily like the person he's portraying. I generally think it's too easy to give actors performances for becoming real people (although the Oscars eat that stuff up), but in this case, I think there's something more, something that Pryce brings to his portrayal that goes well beyond a caricature. Adam Driver is also great in Marriage Story, capturing both the big and small moments with aplomb, acing the tiny moments of emotional nuance as well as those big outbursts of heartbreak and rage. He won't win it, but it's still one of the standout performances in his endlessly impressive, somehow ever-improving career
Of course there are snubs. De Niro in The Irishman is the big one, probably ignored because of how chillingly quiet his performance is. He very rarely emotes in the film, which would turn a lot of awards-voters off, and yet it's that exact lack of loud, expressive feeling that makes him so good. Better than all of the nominees, in fact. It's pretty stupid that he was snubbed because he's not giving a bravura, emotive performance, but hey, it's not who does the best acting, but who does the most acting, right? Another big snub is Adam Sandler in Uncut Gems, who is also better than these nominees. He's big and loud, but with huge reservoirs of substance, channelling the natural chaos of his comic persona into a chaotic turn as the most disastrous person ever. He never feels like he's overacting or going at it too hard, even if that's probably what he's doing to be honest. He's giving 100% a hundred percent of the time, and if that could have been tiring in the hands of anyone else, Sandler pulls it off nicely as the most strangely likeable character in a film last year. And finally, Roman Griffin Davis in Jojo Rabbit, who gives an excellent performance that's all the more impressive because it's his first acting. It's a shame, but not a surprise; the Oscars rarely recognise good performances in comedies (see also: Daniel Craig in Knives Out, who, even if he didn't give the best performance, definitely had the best accent). Same goes for Eddie Murphy's riotous comeback in Dolemite is My Name, which is funny and nuanced and just about the best he's been in.... maybe ever?
Best Actress is a bit of a tricky one, in that, although I haven't seen Harriet or Bombshell, none of these really standout as better than the others. Renée Zellweger will definitely win for Judy, which she's very good in, but again it's another case of an actor becoming a real person in a film that just feels like it was made for awards. It's a total repeat of Bohemian Rhapsody last year: a good performance in a lacklustre film that will get recognition because the Oscars love a good likeness. And yeah, she's very good in Judy (which is not a good film), but rarely does she rise above just doing a Judy Garland impression, which is probably more down to the script being so surface level and plain, but still, I find it weird that this is what's sweeping this year. It's great to see Saoirse Ronan nominated again (especially because she's incredible in Little Women), because her turn as Jo is so assured and nuanced. She brings something new to an old story with a performance that's infused with a thoroughly modern magic. Scarlett Johansson is very good in Marriage Story, again perfectly balancing big-n'-small moments of emotion. She's particularly good at controlling the level of emotion in her voice, which is a small thing but a noticeable one. It's a little detail but it makes the difference, and it's to the credit of Johansson that this isn't even the best performance she's nominated for this year
Obviously, there's snubs here too. Awkwafina in The Farewell is a big one, especially because of the love she got at the Golden Globes. Actually, seeing that film get completely ignored at the Oscars has been a particular shock, but seeing its ace lead get totally snubbed is especially ridiculous. The same goes for Lupita Nyong'o in Us, who gives not one but two unbelievable performances. Sadly, that's not a surprise, given that the Oscars are totally blind when it comes to horror. Which brings me to my favourite performance in a 2019 film, Florence Pugh's performance in Midsommar, who gives such a demandingly emotional turn, so intense and engaged and empathetic that even just watching her is utterly draining. It's one of the most emotionally involved performances I've ever seen, and just like Toni Collette in Hereditary, is further proof that, although Ari Aster is directing the best performances in modern horror, his films still get routinely snubbed because they're somehow not "real films". I don't know, I just don't think this kind of elitism is healthy in film awards. And that's seen with comedies again, like Thomasin McKenzie in Jojo Rabbit and Ana de Armas in Knives Out. McKenzie's snub is particularly frustrating because after not being nominated for her insanely fantastic performance in Leave No Trace, she's being ignored again for her wonderful performance in Taika Waititi's incredible, irreverent satire. As for Ana de Armas, she's the heart and soul of Knives Out, and her presence is what elevates that film from being really good to being excellent
Supporting Actor is again not hugely surprising. I haven't seen A Beautiful Day in the Neighbourhood yet (nor do I know anything about Mr Rogers), but I've heard Tom Hanks embodies the man he's playing really well. The weakest link here is Anthony Hopkins in The Two Popes, who's fine, if kind of just playing a weird, broadly-drawn caricature of Pope Benedict. It's probably the weakest nominated performance I've seen actually, so weirdly just doing an impression of someone that you forget how good Hopkins can be at his best. He stumbles his way through the film, giving a performance that is ultimately just alright. Pacino and Pesci are definitely going to split the vote here, but I'm still really happy to see them both nominated. Pesci's quietly chilling performance is a great departure from the loudmouthed gangsters he's known for playing, and even if his chances aren't great, it's still awesome to see him get recognised. Pacino gives maybe the best performance in this category, bringing bravado to his turn as Jimmy Hoffa, stubborn and difficult and an absolute force of nature when he gets going. His rousing shout of "Where are we gonna go but UP!" is one of my favourite line deliveries of 2019, but even in the quiet moments, he absolutely sells it here. But yeah, the Oscar is absolutely Brad Pitt's. Which is fair enough. I love Cliff Booth, and I think he's the best thing in Once Upon a Time in Hollywood, and I think Pitt gives a charismatic, breezy performance that makes the considerable run time absolutely speed by. I'm just happy that he's finally going to be recognised after almost three decades of varied, consistently interesting performances
And yeah, there's oversights. I didn't love Waves (really liked it though!), but I thought that Sterling K. Brown was fantastic, a strong, initially domineering but progressively vulnerable presence, and the way he gradually strips back these layers was fantastic. There's also Chris Evans in Knives Out, who's so delightfully dickish, and gives such a wonderful showcase of what he can do post-MCU. Watching him cut loose like this is just so damn entertaining, another reminder that the Oscars NEED to recognise great comedy performances more. There's also Ray Liotta and Alan Alda in Marriage Story, both giving small but crucial performances that squeeze in so much brilliance in such a short span of time.
Supporting Actress is kind of great this year. Okay yeah, I haven't seen Richard Jewell or Bombshell so I can't comment on Kathy Bates or Margot Robbie, but the three I have seen are all fantastic. Laura Dern is the front runner here, and yeah, she's kind of great, especially nailing how her character expertly alternates between faux-warm and absolute viciousness. I'll be honest, great as Dern is, the fact that she's sweeping is kind of surprising for me, because I actually think that the other two performances I've seen are better, but still, this is top-tier work from Dern, and it is great to see her get her due. It's also great to see Florence Pugh get some recognition for Little Women, which she is absolutely ace in, and getting a nomination seems like the perfect way to cap off the Year of the Pugh. But it's Scarlett Johansson who gives my favourite performance of this lineup in Jojo Rabbit. At the end of the day, her performance is just a mother trying to save her son, and the amount of love and humour that she just exudes here is crazy. The amount of defiant compassion in this performance is awe inspiring, and she is absolutely the heart and soul of Jojo Rabbit
And of course, they've left some cracking performances out. Most obvious is J-Lo in the absolutely ace Hustlers, who gives this bravura turn, tough and tender, cunning and caring, hard but so, so human. She really should be nominated. Actually, let me try again. She should probably win. She's unbelievable in Hustlers and the fact that she's not nominated is crazy to me. And then there's Taylor Russell in Waves, who is without a doubt the best thing in it. Without giving too much away about Waves, the shift in perspective from Kelvin Harrison Jr. to her is great, and it's in the second half that it really gets good, and so much of that is down to Russell's incredibly empathetic performance. And then there's Octavia Spencer in Luce, and Naomi Harris in Luce, and kind of everything else in Luce, it's a great film that found itself completely ignored. Spencer and Harris in particular give fantastic turns, both acing concern and worry in two very different ways. And guys, watch Luce. And hey, what about Laura Dern in Little Women? Yeah she's up for Marriage Story, but guys. Guys. She's just as good (maybe a little better), as the infinitely warm matriarch of the March clan.
So, that's the acting categories, what about direction? Yeah, it's a good lineup. I mean, it (once again) completely ignores all of the female-helmed films that came out in 2019 (Little Women, of course, but also Hustlers, Atlantics, Portrait of a Lady on Fire, A Beautiful Day in the Neighbourhood, Booksmart, The Farewell, Honey Boy and a boatload of others). But aside from that, it's not a bad lineup. Scorsese and Tarantino were givens, but hey, they did make some of their best work in 2019, with films that feel like culminations of their respective careers. The work they did on The Irishman and Once Upon a Time in Hollywood instantly ranks among their best, and both of these films were year defining releases, so seeing them get recognised as such is only fitting. Oh, and speaking of 2019-defining, why is Todd Philips nominated for Joker? It's not even that I don't like the film, it's that his direction is not, in any way, remarkable. It's way too imitation Scorsese for me, and not in the way that something like Hustlers, where it's tipping its cap to Goodfellas. No, Joker is a skin-deep take on Taxi Driver and The King of Comedy, and there is nothing that Todd Philips does to make it feel any different. Sam Mendes is probably going to win it anyway, and... yeah. 1917 is a masterclass of filmmaking, so that makes sense. His flowing construction of the action is so rhythmic and enthralling, using the technical aspects to ground the emotion, making what could have felt like an experiment suddenly feel thrilling and human, and real. And then of course, I can't comment on Bong Joon-Ho with Parasite, but from what I've heard he's definitely worthy, and if his work there is as good as his other stuff, he very much deserves the nod
So now for the screenplay awards.. For original, there's Knives Out, Marriage Story, 1917, Once Upon a Time in Hollywood and Parasite. No wrong answers here. Rian Johnson subverts the hell out of the murder mystery in Knives Out, relishing in the thrill of storytelling while delivering some of the best dialogue of the year ("A donut hole in a donut's hole"), Baumbach mines the messiness of divorce with some of the most painful dialogue of the year ("I never really came alive for myself. I was only feeding his aliveness"), Sam Mendes aces a screenplay that prioritises action over dialogue but makes sure to make every sentence that is spoken resonate ("I didn't think it would be this"), and Tarantino explores himself and his own relationship with cinema in one of the year's most endlessly quotable films ("When you come to the end of the line, with a buddy who is more than a brother and a little less than a wife, getting blind drunk together is really the only way to say farewell"). It's a good lineup for sure.
As for adapted, I've seen all of the movies, but haven't read any of the source materials. Still, as scripts go, these are (almost) all crackers. I mean yeah, I'll get it out of the way, Joker's the weak link, so strangely written and so uncomfortable, and not in the way it wants to be ("They think that we'll just sit there and take it, like good little boys! That we won't werewolf and go wild!"). Who says stuff like that? The hell does that even mean? Jojo Rabbit sees Taika Waititi make an existing story his own, with sharp, consistently hilarious dialogue ("Definitely not a good time to be a Nazi"). It's so tonally assured, bouncing between hilarity and heartbreak, imbued with the kind of sincerity that is uniquely Waititi. Little Women is exactly what an adaptation of a classic novel should be, maintaining the spirit of the original text while also taking a modern approach, not reinventing Louisa May-Alcott's novel so much as applying its themes to now and exploring why they still matter. The dialogue is crisp, full of warmth and deftly written ("You will be bored of him in two years and we will be interesting forever"). And then there's The Irishman, in which Martin Scorsese takes the Jimmy Hoffa story, approaches it from a different angle, and makes it feel like the film his career has been leading up to since Goodfellas. I love how low-key the dialogue is, how snappy and sharp it is without feeling flashy, although there is still a cracking wit to the script ("Whenever anybody says they're a little concerned, they're very concerned"). And then there's The Two Popes, which is fine. Funnier than I thought it'd be, but still very much a typical Oscar script ("When no one is to blame, everyone is to blame")
For best International Film, I still haven't seen any of the nominees. Interesting to see a documentary nominated with Honeyland, though. This is probably going to go to Parasite, which seems fair enough. I have heard good things about Pain and Glory, Les Misérables and Corpus Christie, even if none of them have a chance of beating Parasite. From what I can see, it's a strong enough category, though the omission of Portrait of a Lady on Fire seems strange, because it is getting so much acclaim
My thoughts on Best Documentary are similarly narrow. I haven't seen American Factory, Honeyland, The Edge of Democracy or The Cave, but I have seen Waad Al-Kateab's wonderful, heartbreaking, deeply moving For Sama. If that won, it'd be fantastic, because it's such a human look at the stories that are never told, honing in on the people trying to live their lives in times of conflict. It's an astonishing piece of work that everyone should see, and to see it nominated is awesome. I am slightly disappointed that the absolutely bonkers Hail Satan? isn't recognised, because that's one wild ride, silly, irreverent and ultimately really thought-provoking. It's a strange subject matter delightfully realised, and if it missed you, do watch it. It's definitely worth your time
Animated Feature is a fascinating category this year. How to Train Your Dragon 3 aside, there's some really good stuff here. And it's not that Dreamworks' trilogy closer is bad- it's definitely one of the best looking animated films of last year- but it's just so forgettable and honestly quite dull. The Lego Movie 2 would have been a better shout if you ask me. Still, Toy Story 4 is a strong contender, Pixar back firing on all cylinders to deliver the film that nobody wanted but everyone needed. The Oscars love Pixar (like everyone else), so a win here wouldn't be unexpected or undeserved, but what excites me here is the three other nominees. Missing Link was an unremarkable story paired with some unbelievably gorgeous stop-motion, and as a feat of animation, it's as impressive as anything Laika's ever done. Its Globe win was an unexpected delight, and seeing it take home the Oscar would be a great win for a routinely snubbed studio. And then there are my two favourites. I Lost My Body is gorgeous, combining silent-cinema charm with eye-wateringly beautiful animation, and I'm over the moon that it got nominated. Same for Klaus, which was one of my biggest surprises of last year, wonderfully animated and utterly delightful, probably the best looking of this lineup. It's one of the coolest Christmas films I've ever seen, and either it or I Lost My Body would be my ideal winners here
So yeah, the Oscars lineup this year is alright. There are some nominations I really agree with, some a little less so, but still, I think mostly it's okay. What will actually win on the night remains to be seen, but one thing's for sure: it's going to be an incredibly interesting watch
No comments:
Post a Comment