Here we go again. Oscar time is upon us. Its the most wonderful time of the year! At least for me. Every year's crop of Best Picture Nominees is a mixed bag and this year is no different. Two major blockbusters from films that more than defied expectations. Four period pieces set with historical backdrops and two fantasy films examining feminism though the eyes of reanimated women, one dark...one pink. On courtroom drama, One Nazi Family Circus, One Asian Sleepless in Seattle, One Musical Genius and a real life Cowboys and Indians horror story. There is literally not a bad film in the bunch. They vary in story, style, scope and theme and they are all worthy additions to the world of cinema.....or not.These are listed in my order of rankings. Top to Bottom for the Best Picture Award.
This is NOT necessarily what I think is going to happen with the award. Do not use this list to make bets. You will lose your house. These are listed in the order that I would rank them if I had such a vote for Best Motion Picture. I would love to hear from you and know what you think.
Cillian Murphy is gripping as Oppenheimer. Every line of his
face portrays the complex, conflictions between the confidence of his genius
and the humanizing weight of his moral responsibility. Robert Downey Jr. reminded
people that when he takes off his spandex, there is still a tremendously special
actor with equal parts charisma and talent. Emily Blunt's portrayal of
Oppenheimer's wife, Katherine, adds depth and emotion to the storyline. Oh, and
Matt Daman and Rami Malek and Gary Oldman and Jason Clarke and Florence Pugh
and and….well….come on. This is old-school, Hollywood Legend greatness.
Chris Nolan is riding a sweet spot that very few directors
get close enough to see much less enjoy for over 2 decades. He is creeping into
Spielberg Territory where Movies and Cinema intersect. Artistic and meaningful
films, constructed so eloquently, that they enjoy a level of commercial success
their subject matter and “artistic” achievement would normally belie. Nolan is
a master and has been for some time. Without Oppenheimer he still has several
films to be considered masterpieces or his opus.
The film's stunning visuals and haunting score further
enhance the viewing experience, leaving a lasting impact on audiences. It’s
fair to note, there are detractors who feel the film has a huge gaping hole. Primarily,
regarding political implications or personal preferences of Nolan choosing not
to include visuals of the destruction these awe-inspiring weapons wrought. It
is not an entirely unfair criticism. However, this or any film cannot be
everything to all people. The title of the film isn’t Nagasaki. It’s not The
A-Bomb. It’s not Holy Shit What Have Done? This is Oppenheimer. His life story
and his point of view. Its masterfully and seamlessly told by weaving together
the personal and professional aspirations of the genius with the devastating
personal and emotion consequences that were suffered by the man.
BARBIE –
The movie about the most iconic toy for girls in
American history, written, produced, directed, and crafted by women and nearly
broke the internet and made so much freaking money they almost changed the word
blockbuster to BLOCKBUSTIER.
There is a ton to say about the social, political, and
business aspects of what BARBIE has been to the world of film this past year. That
is an article in an of itself….if not a book. The fact that the female director
and the female lead who were also the producers of an iconic female story
weren’t nominated in their respective categories, but Ryan Gosling was, and
their film was nominated for Best Picture is quite possibly the most On Brand ending
in the history of the Academy.
But this is about the movie "BARBIE" and as a
movie it is a stellar achievement under one of the most dependably, great
directors working, Greta Gerwig. This isn’t a fluke. Couple that with Margo
Robie's performance as both star and producer, the film shattered all expectations,
be they artistic or economic. Let’s face it, this could have been an absolute
train wreck. Instead, it was a juggernaut of a movie that’s not only
entertaining but breathes a deserving reassessment of what can easily be
dismissed as a beloved child’s toy. It has offered a bitingly truthful perspective
on femininity and empowerment and has done it brilliantly through the expanded
narrative of a “simple” doll.
Don’t underestimate Margo Robie's contribution and dedication
to the project. It is evident in every frame, elevating the film with an Oscar
worthy performance. Barbie had to be breathtakingly beautiful. I’ve seen other
actresses who were up for the role that would have been interesting choices. But
let’s face it, If Barbie isn’t BARBIE, the rest of the movie loses credibility
and poignance. Not dissimilar to a movie like The Hulk. If the CGI Monster doesn’t
play, then nothing is believable. But Robie’s overwhelming contribution, beyond
the looks is her marvelous acting. She’s a star, for all the right reasons. The
music and the art direction and the phenomenal supporting cast and the script are
all amazing accessories. But if they didn’t have a Barbie to display them on,
the film would not work.
It is a stellar collaboration and a showcase for creativity
and perseverance. The struggles to get it made and greenlit with be part of
Hollywood lore. Gerwig’s and Robbie’s influence and street cred have only
grown. Success like this has long coattails. But, for all its new ground and wake
up calls and social influence, "BARBIE", at its core is a throwback
and a testament to the power of passion and innovation in storytelling.
The Holdovers –
Holdovers is set in the 1970’s. Many
period films about that era portray it over the top with garish costumes and
disco everywhere. One of the great things about this film is the aesthetic it
achieves. Not just the costumes or the hairstyles, it’s everything. The movie
not only looks like it is set in the 70’s it looks like it was shot in the 70’s.
It has a throwback look and feel that is almost palpable. Hell, you can almost
smell it. If you saw that Sidney Lumet or Sydney Pollock had been the director,
you wouldn’t be surprised.
The Holdovers refer to a student at a new England boarding
school who gets left behind over Christmas break and the teacher and cook who
are left to supervise. They are 3 disparate souls. All struggling with life and
the circumstances in their different phases. They are each traveling through
this world alone and by chance or timing or both they find each other.
While not as heavily laden with star power as a film like
Oppenheimer, The Holdovers is just as well acted of a film. Paul Giamatti may
finally get his Oscar as may DaVine Joy Randoph. Both would be worthy choices
in any year.
The Holdovers is a story of broken and lost hearts learning
to heal from the love and care that they surprisingly seem to find only in these
other shattered souls. It’s a story of love and commitment shown through
compassion and decency.
The Zone of Interest -
The Zone of Interest is easily the
most disturbing film of the year and that includes movies about the invention of
nuclear war, a full-sized doll coming to life, a “mini” genocide and a
reanimated woman who has her brain replaced with the brain of her unborn child.
Zone is the story of a typical nuclear family with a
hardworking ambitious father, a devoted and concerned mother and their
inquisitive and active children. All living in a beautiful home in the gorgeous
countryside of Poland. They take family outings to the scenic riverside nearby.
The father is working hard for his next promotion. The mother is concerned
about their home and the neighbors and their place in the community. The kids
are worried about their schools and their toys and their friends. The one thing
the family isn’t worried about is their next-door neighbors. Did I mention that
the dedicated father of this family is the German SS member in charge of Auschwitz?
When I say this is a disturbing movie, I mean it. The garden
where this picture post card family spends their leisure time shares a wall
with the most infamous site of murders on the planet. The most chilling aspect
of the film is that you never, I mean never see any violence or mayhem. You
never see any of the starvation or testing or shooting or vile depravity. But
you know it’s there. Tucked away behind the wall. Just out of sight and
seemingly completely out of the minds of those committing the atrocities.
It’s not that the family comes across as hateful or
incensed. You never see any contempt or disgust of those they so obviously disdain.
What you see is complete and utter indifference. You see the absolute compartmentalization
of the fact that these “creatures” are even human. It’s not fiery or blatant or
even intentional. The hate and dehumanization are so entirely engrained and
second nature that the horror is not even horror. It’s just mundane. Murder and
torture aren’t atrocious or special. It’s just business as usual. There is not
one once of shame. But the gardens are beautiful.
The more I reflect on it, the more disturbing it is.
American Fiction –
The Academy loves films about the world
of artists and entertainment. It stands to reason. Artists see compelling drama
in the creation of art. We write what we know. American Fiction is about a
frustrated writer who has had some critical acclaim without the accompanying
commercial success.
The story is told through the eyes of Thelonious “Monk”
Ellison played by Best Actor nominee, Jeffrey Wright. Monk is a talented yet
frustrated writer whose critical acclaim has never garnered the commercial
success it deserves. He’s frustrated at his lack of success. He’s angered by
“lesser”, “sell-out” authors who have commercial success. He’s a black author
who isn’t considered black enough by the publishing world. A world he thinks is
disingenuous and exploitive of black culture. What’s a literary genius to do?
American Fiction succeeds by
telling 2 parallel stories. One is compelling as an exploration of race,
identity, morality, and character of a man deciding how he wants to use his
voice in the world. What is important for the world to know about him. Is his
art for sale? What is his responsibility to his community. What is his
contribution to society?
The second story weaved through
the film is an exploration of Monk and his place in his own family. He has an
aging Mother, a distant sister, and an estranged brother. They have lost their father,
and the family dynamics are in flux as the children are transitioning to the
adults of the family.
Both story lines are anchored by
a viciously smart screenplay and an impeccable cast. They tackle race,
commercialism, political realities, heartbreak, aging, death, love and maybe
most importantly reconciliation. The beauty of stories, this story, or our stories,
is that we have a chance to continually change our ending. We have a choice to
determine the stories we want to tell, how to tell and whom to tell them to.
Anatomy of a Fall –
A German woman marries a French man who dies under seemingly, suspicious circumstances. The police, her lawyer, her son, and the French courts attempt to discover if his death is murder or a tragic accident.
One of the most interesting aspects of the film for me was seeing the differences of how the French courts are conducted in contrast to an American court. The rules of the court and some of the differences and allowances of questioning and evidence are fascinating. The courtroom scenes make for some exceptionally good drama. They can also be maddening to someone not familiar with the French process. I found myself wanting to object on multiple occasions.
The protagonist, Sandra Voyter, is played by Sandra Hüller who is having a heck of a year. She also starred as the mother of the Nazi family in The Zone of Interest and could have easily been nominated for that role as well. She went from a suspected murderer to the matriarch of a family of Nazis who oversee a death camp…….that’s range.
But seriously, she is phenomenal in both. Without her performance Anatomy of a Fall could have easily been forgettable. While the film is unfolding the layers of the murder, it is also examining the effect instant notoriety and attention has on those involved in an instantly notorious story. What damage can be wrought by media scrutinization of heretofore private, unknown people? Hüller’s ability to distinctly express the range of emotions of someone dealing the with compounded traumas of her husband’s death, her instant loss of privacy, the immediate “celebrity”, her concern for son and the harrowing legal scrutinization, carry the film to its ultimate if not ambiguous conclusion.
Killers of the Flower Moon –
Killers of the Flower Moon is a
devastatingly emotional adaptation of David Grann’s book of the same name. It
retells what can only be described as a series of frauds and murders
perpetrated on a vulnerable community. While the book describes the depravity
and personal horrors of those involved. Scorsese somehow elevates the book’s
more forensic retelling and humanizes the evil. He humanizes deceit and
humanizes the gross betrayal people can enact on other people while staring them
in the eye and feigning love.
KofFM is beautifully shot and exquisitely acted. It is also a
serious attempt to show the tragedy from the eyes of the betrayed as opposed to
using a more neutral point of view, which is in many ways why it is so
emotionally disturbing. Its biggest problem is pacing and the fact that it is
just too, damn long. Don’t get me wrong, long movies are great but here
Scorsese just seems to spend copious amounts of screen time in musing and
contemplations that do not advance the story. The runtime could have easily
been cut by 40 minutes without losing a single shot or line of dialogue.
But what the hell do I know? Scorsese has earned the right
to shoot what he wants, and the film works on the most important level. It
works emotionally. Lily Gladstone is more than worthy of the accolades she has
received. DiCaprio got snubbed but I think he will survive. DeNiro is fine but let’s
not go crazy. I would have given a nod to Jason Isbell how was as believable
and unsettling in his small role as any of the heavyweights he shared the screen
with.
Poor Things –
This is a film that has been described as
“What if the Frankenstein Monster was a Woman?”
An intriguing question to be sure. Taking a bunch of parts and sewing
them together to create a new creature. Poor Things is without a doubt one of
the more visually and artistically captivating films of the year. Its voice and
originality are present in the make-up, the set design, the cinematography, the
lighting, the script…..everything. The director has created a world from head
to toe and all the pieces of the film are on the same note. Nothing is out of
step and all the parts seem to tell the same tale. The movie as vision and a message
and voice. That is no small feat that you don’t often find. The acting was deep
and intentional. The story is thought provoking. The film is art. That being
said, Im certain I’ll never watch it again.
Maestro –
I’m a sucker for biography pic. It is, at least
for me, a formula that normally seems to work. Movies like Maestro often get a
bad rap and get tagged as “Oscar Bait”. That shouldn’t disqualify them as
worthy or artistic but it’s a pretentious way to seem smart or clever and a
little sanctimonious. Since I am neither smart, nor clever and only
occasionally sanctimonious, my opinion should be OK.
Bradley Cooper is cutting out an impressive career for
himself. First as an actor and quickly as a director. This is his second
feature film, and it is a beautiful piece of film making. The academy loves
films about artists and personalities and Leonard Bernstein was both. It’s also
about a classical musician and conductor which adds a little fuel to the Oscar
Bain fire.
Regardless, it is a worthy contender, albeit a long shot.
The makeup is astounding. The cinematography and artistic design is exquisite. Cooper’s
portrayal of Bernstein is compelling and miles above a simple impersonation.
That’s hard enough to accomplish as an actor. But, to direct yourself to a
performance like that is a whole other level of achievement. The nomination
here is the prize. Click bait or not.
Past Lives –
In another reality this film could have been
entitled “What If?” Past Lives is a
seemingly simple story of girl and boy whose paths cross as children, then
diverge, then cross again 20 years later. The film has a wonderful script with sharp dialogue. The
themes are relatable. What if life had opened or closed different doors? How
would life be different depending on which love was allowed to grow? Does love
have a window?You get the idea. It is not a grand movie. It isn’t
particularly stimulating visually. It’s not an event. But it is smart and contemplative
and by the end you are hoping the everyone involved ends up ok. You are rooting
for them all. There is no villain here other than timing.
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