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The 10 nominees for Best Picture at the 2023 Academy Awards, aka The Oscars, ranked in order, with my own personal take on and rating for each:

1. Everything Everywhere All at Once

Let’s cut to the chase…this is the Best Picture of the year. It’s a wild, imaginative, inventive, and thoroughly entertaining romp. It has style to spare as the filmmakers work with a freedom and bravery that is always apparent on the screen. The scriptwriting is superb, the acting is layered and poignant and impressive – I think the cast should win Best Actress (Yeoh), Best Supporting Actress (Hsu), and Best Supporting Actor (Quan). And he production design is some of the best I’ve seen in recent memory.

I don’t want to say too much about this film as I want anyone who may choose to watch to go in as blank and as open as possible to it. Don’t buy into the hype of what you may hear or take away from this review. Just give it a shot. It was the last of the 10 nominees that I watched this year and it was a wonderful finish for me and, in so many crazy ways, a reminder of why I watch these films and make this commitment to these silly Oscars every year. Sometimes, when you open yourself up and you least expect it, despite all that might be working against you…the magic of the cinema still happens.

Rating: 96

2. All Quiet on the Western Front

Brutal, beautiful, and harrowing. I don’t know how you can call a film like this entertaining or consider it worthwhile viewing but it is. War is hell and this film drags you through the mud and the blood and the bleakness and the worst of it in a wildly immersive experience. Incredible cinematography, a haunting (and I mean haunting!) score, and measured, lived-in acting performances are the hallmarks of this war film.

It’s an amazing, ironic, poignant, brilliantly captured slice of history – from the losers’ perspective (which makes for an interesting empathetic viewing experience) that I can’t recommend to anyone – outside of simply saying that if you want to see what the First World War may have looked like in all its gory spectacle, give this a go.

Rating: 92

3. The Fabelmans

This is a warm, reverent picture of an auteur’s childhood and teenage memories. Too often I’ve seen this approach to a cinematic story by an accomplished filmmaker get rewarded with an Oscar nomination for the film (Roma and Belfast immediately come to mind) and too often the result is underwhelming. I typically find the subject matter in those cases to not be worthy of the film treatment. I would say that this story – Spielberg’s thinly veiled autobiography – doesn’t really deserve that treatment either, just from a surface level description of it. But in the hands of this director, who has such a trained and instinctive eye and ear for storytelling and what the audience wants…this very personal story comes alive – but not in an overly fawning, egotistical way.

The film is beautiful, well acted, exquisitely shot, and full of heart. With rare exception, it treats its characters with a nuanced and respectful approach. It genuinely flies by despite its 2-and-a-half-hour run time – I never found myself bored and I was genuinely wanting more when it came to an end. And that is the mark of a good film to me…to satisfy me AND leave me wanting more of it. What a beautiful paradox. It is far from perfect, but it is perfectly fine with being what it is. I liked this film a lot more than I was anticipating doing so. It reminded me of my own love of art and storytelling and the magic and wonder that they stir inside you.

Rating: 89

4. Triangle of Sadness

This is a well-made, wild, unflinching, unrelenting, unexpectedly comical tour de force (and tour de farce). At no point in my viewing of this film did I know where it was going next and that was an exhilarating experience. A refreshing mix of dark comedy with suspense and tension and atmosphere.

It’s a full-throated commentary on class warfare and socialism vs capitalism. Great acting, confident, brave scriptwriting, and an even, almost documentary approach to the cinematography at times. The ominous score is a treat, as well. I’m not sure I can recommend this one, but it surprised me and entertained me. These days, that’s really all I ask from a film.

Rating: 88

5. Top Gun: Maverick

I saw this nominee in the summer during its opening theatrical run in a crowded, enthusiastic theater. That’s the kind of experience this film deserves. It’s a well-made, reverent piece of nostalgic cinema that manages to build on its iconic predecessor while delivering something new and exhilarating. It’s faithful to the story and characters of the original Top Gun and rewards the fans of that film with wonderful callbacks here and there.

The filmmaking is awe-inspiring with incredible stunts and superb sound, cinematography, and editing. I loved the first film (a staple of my childhood) and my only expectation for this one was for it to not fumble the legacy. It does not. It soars and delivers an epic and worthy sequel. I don’t think it will win Best Picture – it’s more a popcorn flick that elevates itself to something greater – but I’m happy to see it nominated.

Rating: 81

6. Tár

A slow, methodical film. I found it interesting and watchable but not altogether engaging or entertaining. To watch a revered, powerful character slowly unravel does not make for too pleasurable of a cinematic experience. It all feels a bit pretentious but there’s an aspect to all of it that the film is is in on the joke. Blanchett does an incredible job (and might win the Best Actress award) delivering a mesmerizing performance of someone who never truly endears herself to the audience and yet we, the viewer, must go along for the ride with this, our forced-upon protagonist. The film does build to an ultimately satisfying crescendo (much like the orchestral pieces performed in the film) and delivers a soft, quiet, ironic conclusion.

Breaking the film up into the 3 acts, you can see the deliberate nature of the world-building of the first act but goodness is it a tough, boring slog. The second act is an ever-tightening squeeze of tension and conflict and the third act swells and breaks and delivers the most entertaining parts of the film, in my opinion. I can’t shake the feeling that the director, Field, has somehow punched a card with the Academy to always have his films nominated. It feels as though the voters see this as both high-brow, aristocratic content but at the same time, a mockery of it all. This is well-made film and it’s affecting, but it has a hollowness that keeps it from becoming more. I think I liked it, when it’s all said and done, but I can’t really recommend it.

Rating: 79

7. Avatar: The Way of Water

This is a high concept, large scale action flick with a extra ounce of emotion and drama thrown in to elevate it slightly above the typical popcorn fare. The plot feels a bit too contrived and overt to hold up under the weight of such a mammoth movie franchise. It’s like the director, Cameron, brought his 1980’s script writing into present day and just said “this will do just fine.” Plus the character archetypes are just too black and white, lacking any nuance.

All that being said, this film is still an impressive visual spectacle. And the 3D is, once again, immersive – like it was in the original. But 15 years later, it doesn’t feel like any new ground was broken (it feels very much like a retread). In fact, the film feels bloated in its excess of technical wizardry and cinematic innovation. The filmmakers are flexing their muscles but it’s all so overdone and overly long that it started to numb me as I watched it. For as negative and critical as this review is, though, I can still say that I enjoyed it. It’s an entertaining film. I think the visual effects and art direction are stellar but I honestly didn’t feel the entirety of the project deserved a best picture nomination (it actually feels like a toss-in for the Oscars to strategically appeal to a larger audience).

Rating: 77

8. Women Talking

This was decent, well-acted, overly written, and ultimately tedious film. It deals with difficult subject matter in a respectful, measured way. The direction and storytelling have flourishes of a masterful hand as more and more context is provided over the course of the film. It is a beautifully stark, gray world rendered here. But I couldn’t help but feel a bit bored and more than a bit frustrated with the characters for not moving their proceeding along at a faster, less “stagey” pace. Then I became frustrated with the filmmakers for not properly conveying WHY it would take them so long in their discussions. These are meant to be simple characters who know little about the world outside their own. But the way their dialogue is written and how their scenes are acted, you wouldn’t know that. They come across as bright and strong. The result is a bit of a fumbled delivery. Decent…that’s about the best I can give this one.

Rating: 72

9: Elvis

This film hums with an energy and pulse that becomes exhausting across the course of its run time. The cinematography and editing blitz you with style and imagination but it’s all a bit too much. By the end, the film is struggling and limping and I felt the same way watching it. This is a depressing film, with few moments of joy, amped up drama, and a constant state of dread. I liked it more than I thought I would but it still left me wanting. Butler gives an incredible impression of a performance. He’s fun to watch but it’s a facsimile of Elvis. I’d rather watch the real deal and the film acknowledges this fact right at the very end. Still, it’s a decent if flawed recreation of an amazing entertainer’s story.

Rating: 68

10: The Banshees of Inisherin

This movie went from immensely likable to quite unlikable with a quickness for me. Quite the tonal shift in the middle of it – one that I wasn’t ready for. I see not-so-subtle allusions to the Irish civil war that serves as an off-in-the-distance backdrop to the events of this film. And sure, that probably makes for a fine story to tell. I just didn’t really care for it here. It felt like the rug got pulled out from under me…slowly at first and then with an absurdist, nihilistic jolt. It’s a beautiful film with lovely Irish vistas and lovely, thick Irish accents – and some truly funny moments and deep emotional, chords. But the film’s dour second half pulls it down in a way that’s irredeemable, in my opinion. In an interview, it’s main actor, Colin Farrell (who delivers a solid performance) said this film is about the disintegration of joy. That’s an accurate description but it should also serve as a warning to would-be viewers of it.

Rating: 66

So that’s it. That’s my take on the 10 nominees for this year. I enjoyed this year’s crop of films. I found them to be a good collection of films and solid cinematic entertainment. I also purposely told myself to not take this endeavor as seriously this year and to be less analytical and critical than I have been in recent years when doing this. Reading over last year’s recap, I wrote, “There was not a lot of joy or entertainment for me as I worked my way through these reviews,” and that made me sad to realize I’d gotten to that point. So it makes me happy to know the pendulum swung back the other way this year. I enjoyed this Oscar Adventure…and at the end of the day, why else would I do it?

Here are my Should Win/Will Win predictions for the top prizes this at year’s ceremony:

Best Picture – Should Win: Everything Everywhere All at Once; Will Win: Everything Everywhere All at Once

Best Director – Should Win: Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once; Will Win: Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once

Best Actor – Should Win: Austin Butler, Elvis; Will Win: Austin Butler, Elvis

Best Actress – Should Win: Michelle Yeoh, Everything Everywhere All at Once; Will Win: Cate Blanchett, Tár

Best Supporting Actor – Should Win: Ke Huy Quan, Everything Everywhere All at Once; Will Win: Barry Keoghan, The Banshees of Inisherin

Best Supporting Actress – Should Win: Stephanie Hsu, Everything Everywhere All at Once; Will Win: Kerry Condon, The Banshees of Inisherin

Best Adapted Screenplay – Should Win: Rian Johnson, Glass Onion: A Knives Out Mystery; Will Win: Edward Berger, Ian Stokell, and Lesley Paterson, All Quiet on the Western Front

Best Original Screenplay – Should Win: Ruben Östlund, Triangle of Sadness; Will Win: Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once

Let me know what you think in the comments. What was your favorite film? Am I wrong on some of my takes – or spot on? I’d love to hear your thoughts.

This marks the 26th year of this hobby of mine. I’ve carried on this “Oscar Adventure” of seeing each Best Picture nominee each year since 1997. When the films that have been nominated for the Academy Award for Best Picture are announced, I make a point to see all of them before the Oscar telecast (which for this year, takes place Sunday, March 12th).

The criteria I use to judge the nominees is a long, convoluted mix of cinematic artistry and entertainment. I try to go into each film viewing with zero expectations and as little knowledge of the plot as possible. And I always try to form the basis of each review immediately after the film is done, jotting down notes that I later turn into these write-ups.

Thank you for taking the time to read them. I love this annual tradition. I hope you’ve enjoyed reading it as much as I enjoyed watching the films and writing about them.

The 10 nominees for Best Picture at the 2022 Academy Awards, aka The Oscars, ranked in order, with my own personal take on and rating for each:

1. Dune

This is an extremely cool film. It’s badass, for lack of a more erudite description. It’s been a long while since I’ve seen a film that has appealed to both the inner child in me, with its sense of wonder and awe, and also the student of film in me, with its intelligence and craft. Dune is a fine film. It’s very well made and you can see the workmanship and passion for the story onscreen in all aspects. The cinematography is exceptional and the art direction, production design, costumes, and makeup are all stellar. This is some of the most fleshed out and vibrant world building I’ve ever seen captured on film. So much is introduced with minimal explanation but it’s done in such a way that it all feels instinctual.

The effects are incredible. Nothing looks fake or CGI…nothing. It’s refreshingly natural. That is an amazing feat (and I’ve learned about the benefit of brown screens vs green screens to help make the visual effects look right). The shadows and lighting and scope and scale are perfect. It was a joy to absorb. And oh my, the soundscape…deep bass and punctuated notes here and there. I’m grateful for my new sound bar in its conveyance of the film’s sound as it was intended. The acting is measured and adept throughout. You never feel like you’re watching characters played by actors. These are people/aliens that we get a glimpse of as they inhabit their universe.

I just want to say, once again, how cool this film is. I kept thinking that over and over as I watched. And it was refreshing to feel that after some of the underwhelming nominees that preceded it. The film is not perfect, in my opinion, though. There are entirely too many scenes of dream logic for my own taste (much like Villeneuve’s Arrival). And the film’s last act seems to dip ever so slightly in terms of energy and direction as we slowly start to realize why they put “Part One” under the title in the opening scene – you can feel that shift from sprint to marathon in the story. It’s not disappointing. It’s just that you start to miss the spectacle and sheer magnitude of what came before. Overall, I thoroughly enjoyed this film. I’m not sure it will win over the hearts and minds of the Academy voters. But it will rack up several technical category victories (sound, effects, etc.). In my opinion, it deserves a Best Picture win should it deliver one, and that is a result of it checking so many boxes with all of the technical skill from so much talent on display here. My biggest regret is not seeing it in theaters like it was intended. That would have been a visual and auditory treat.

Rating: 93

2. Don’t Look Up

I was surprised by how much I enjoyed this film and how impressive it ended up being. I’ve not been a fan of McKay’s more serious work so I went into this one skeptical. But the satire was more subtle and nuanced than I was anticipating. And the filmmaking was solid and confident. The cinematography fluctuated between commercial gloss and gritty film, but it all worked together in a visually pleasing way. The graphic effects bordered on cartoonish in spots, but I believe that was the intention, to some extent. The script was sharp, witty, and biting. And it had more emotional depth than I was ready for.

The acting is what shines the brightest here. This is a large-scale ensemble piece that features outstanding performances all around. DiCaprio is incredible, weaving back and forth between a subtle approach and a bombastic, angry one when the scene calls for it. His character feels lived in and real. Lawrence is impressive, in her own right, but her character is not as fleshed out as the male lead’s. Rylance, Hill, Chalamet, and Streep all provide memorable performances. It’s worth stating that I saw this film before the nominations came out and I was impressed by it so much so that I felt I needed to go ahead and jot down these notes. It’s not a perfect film and it definitely wants to shout its take on modern society, social media, politics, and more as it bellows about various topics. But taken as a whole, it works. And it entertains. And it sticks with you long after the credits (and post credit scenes!) have stopped rolling.

Rating: 86

3. King Richard

This film is a solid, moving portrait of a complicated and driven individual. It also provides a unique glimpse behind the curtain of two of the most iconic athletes the world has ever seen. For a sports film, it’s studied and grounded, with a realness to its athleticism that is absent in far too many of its kind. Plus, the dramatic irony that comes with knowing how this story ends makes for a satisfying and comfortable viewing experience. The story may be about the making of Venus and Serena but the titular character is center here. Will Smith gives a magnetic performance of a visionary but flawed character that is frustrating and nuanced and exhilarating all at once – it’s some of the best work of his career. The rest of the cast is a mixed bag, with some stilted performances here and there that tend to detract from the goings on. But Aunjanue Ellis gives a fine performance as the backbone of her family and Bernhal’s acting is energetically infectious.

The film has its stereotypical trappings (most sports films do) as it hits familiar notes, but it still manages to provide a fresh feel to the subject matter. I was impressed with the subtle realism of the lighting and the sound design. Both stand out to me as I think back on the film. There is also some truly touching and complimentary use of archival footage. Overall, it’s an inspiring and entertaining true origin story/character study. The film made me laugh, made me a bit misty eyed, and ultimately made me reflect on what it means to be a father – and I am thankful to it for that. Even though I wouldn’t consider it a truly superb film, it is very well done and I enjoyed it.

Rating: 82

4. Drive My Car

Okay, first things first…this film is quite lengthy. So, if you choose to watch it, settle in. It’s full of quiet, peaceful, rich, mesmerizing shots of Japanese cities and landscapes, as our main characters’ car travels from spot to spot, taking us viewers along for the ride. There is a lot going on in this film. The avant garde stage play of multinational and multilingual actors is a fascinating backdrop to the main plot of the film. Seeing the inner workings of such a production was an unexpected treat.

There are some powerful moments throughout the film with various subplots playing out. But it’s the core stories of the two main characters and the contemplation of grief that all unfolds like a blossom with revelation after revelation across the film’s nearly 3-hour run time. That’s probably my biggest quibble: the film is just too long. So many pillow shots and slow builds and a tranquil, novel-esque approach to pacing. And you can sense the focus and goal of the filmmakers in how they choose to build the world of this film. It is craft and skill on full display. But for it to be as subtle and quiet as it is, the end result feels just a tick too “showy.” And I know that isn’t the intention. It doesn’t carry the same level of pretentiousness as The Power of the Dog, though.

One interesting item of note is the presence of the most late occurring opening credits I can ever recall in a film (and it’s even more interesting to learn about the connection to the original short story’s source material being the reason for that). I liked this film, to a good extent. And I can appreciate the craftsmanship of it – the cinematography, the art direction, the framing, the scriptwriting, the sound design, and the acting are all of high quality, and the diversity and representation on screen (a more reverent depiction of sign language than CODA) is impressive – but the sum total is somehow less than what the various parts add up to. It’s much like the Uncle Vanya play the characters rehearse and perform that we see so many snippets of throughout – you can sense something good and powerful is present, but you just aren’t able to see it all come together. It’s tough to recommend this one. Still, it’s a good, thought-provoking, arthouse film.

Rating: 80

5. CODA

This is a cute film. It felt, at times, though, like a high gloss, formulaic after-school special. It never was able to transcend to something greater for me, though I very much wanted it to. The main plot treads in fairly standard underdog-rises-up territory. Hell, the film even boasts not one, but two music montages of time passing and great progress made by the protagonist and her gang – like it was snatched from an 1980’s John Cusack film. You never really doubt the story arc floating to its destined conclusion. And that’s okay, because it’s a joy to watch, with some truly funny, truly touching, and truly raw moments. But it’s the surrounding environment of the deaf family that provides this film with its uniqueness and heart (CODA is an acronym for Child of Deaf Adults). It’s a wonderfully intimate yet non-exploitative glimpse into a world so few of us have experienced. The deaf world here is not portrayed as one of disability but more of just…difference. That is a refreshing approach.

One qualm I had with the deaf ensemble cast that I couldn’t shake, though, is that their acting often came across as overacting and very demonstrative in a way often attributed to “bad” acting. It’s distracting at times but not overly so. The same could be said for some of the speaking roles, as well. Emily Jones does a fine job conveying all of the weight that her role in her family lays on her – plus her sweet voice is so pleasant to hear. Kotsur does well with his role, too, and I was happy to see, after the fact, that he was nominated for Best Supporting Actor. Overall, the cast does an admirable job but you can see their limitations. The filmmaking, itself, is capable and solid. It takes only a couple of stylistic chances – and they definitely stand out – but otherwise it’s fairly basic. And there are some questionable plot contrivances that don’t sit well – mainly dealing with a helpful but career-steering teacher. The charm of the movie, though, rises above all of these things that I feel as though I’m overemphasizing and overanalyzing. This is a good film. And I think most who watch it will enjoy it. I don’t think this one has enough weight and gravitas to compete for the Best Picture prize but I can appreciate its inclusion in this year’s list of nominees.

Rating: 75

6. West Side Story

This film surprised me early on in its runtime with its showmanship and throwback style…a pulsing rhythm of old-school Broadway and Hollywood musical spirit colliding with new age movie wizardry of acrobatic camerawork and whiz-bang editing. The songs, at first, are born out of an organic place within the film’s universe, all the pomp and presentation and overacting and melodramatic storytelling, it all clicks and it all makes sense…for a while. I found myself grinning and entertained, swept up (as much as I could be, seeing as how I’m not really a fan of musicals) by what was playing out on screen before me. And I knew, generally, going in what lied ahead of me with this film, having seen the original 1961 musical film and its story loosely based on Shakespeare’s Romeo and Juliet. That film’s place in my memory is held loosely in my mind as playing on some TV screen in my elementary school that the teacher had rolled into the room.

As I watched this new film version of the story, I found myself checking off vague boxes in my mind, comparing it to the original. And for the first half of this new one, I found it enjoyable. The songs are imprinted in my brain, in a way, and it was sweet to revisit them. The choreography, the staging, and the cinematography make this a visual treat to take in…for a while. But then something happened. The story takes its well-worn turn into more serious territory and it changes…for the worse. Bright, technicolor, vibrant fun and joy and the wonder of a first love (which is very well captured here) is replaced by a dour, overbearing vibe that suffocates the entire enterprise. So much so that the song, “I’ll Feel Pretty,” sticks out like an antiquated sore thumb, as it arrives after that serious turn, and reminds us this is a musical and there are songs to sing.

For me, the film’s second half doesn’t work. The fun of the first half is gone and what follows is so incongruous with what preceded it that it all starts to crumble. Having said that, Spielberg is a master craftsman and he pumps all he has into this production. But two things happen: one is that the antiquated story and characters both labor in their update for modern cinema and the director’s energy for the events onscreen starts to dwindle as the story limps to its conclusion. I think this is a decent film and I can see why it earned its nomination, both as a result of Spielberg royalty and the throwback to Hollywood of yesteryear. Beyond that, all I can say is that I wish that grin that I had during the first half of it had not faded like it did over the course of the whole film.

Rating: 72

7. The Power of the Dog

I did not enjoy this film. It’s beautifully shot, with sweeping, panoramic vistas alongside quiet, controlled close-ups. And it’s got antique style to spare. But my goodness, it’s an anxiety-riddled, depressing piece of cinema that gives the viewer few moments of enjoyment. The story – or what the filmmakers try to assemble as one – strolls along at a dawdling pace, filled with ambling, unfocused intrigue here and there. And the characters give little to invest in or root for. Cumberbatch does an admirable job but I could never shake the feeling that he was miscast – and I felt his character was a jumbled mess of antagonist and protagonist who never finds his proper footing for what the film needed him to be. McPhee is interesting to watch and he does provide the film with its sole bright, albeit ambiguous, glimmer. The three acting nominations are all a bit surprising to me as I found each to be underwhelming – with Plemmons being the most confusing of the lot.

The art direction, cinematography, and score are the higher marks here. The film has a dusty feel of old-fashioned time past and the music does a solid job of ratcheting up the tension. There is a sense of creeping dread and foreboding that hangs over the entire film – as we watch and wait for the story elements to build and come together. They do…eventually. But I was left with a guilty feeling of cheated deliverance. This film wants to be high art but in my opinion, it stumbles in its attempt. I found it pretentious and lacking, though the skill and talent gathered here is evident. It was a hard, unsatisfying watch. It apparently has a good shot to win the Best Picture prize. I would respectfully disagree but that’s nothing new with me and the Oscars. Perhaps if you watch it, this review will set your expectations low enough so that you might find some more enjoyment or entertainment in it than I did.

Rating: 69

8. Licorice Pizza

I don’t know what I just watched and I don’t know if I would be able to describe what I just watched if I tried. This film is an enigmatic, confounding, exhilarating, and problematic piece of cinema. I enjoyed it, for the most part, but I can’t say that it’s good. It feels like the filmmakers tossed a bunch of ideas into a blender and set it too high. And some of the parts aren’t as funny or entertaining as they think they are. I love PT Anderson films, for the most part, but this one confused me. I thought I had figured it out at one point that the events of the film were all in one character’s teenage imagination. That would have made more sense, honestly. This one feels like an echo of Tarantino’s Once Upon a Time…In Hollywood, another aimless director’s fever dream/personal vision project – or maybe even Cuarón’s Roma, in that it’s a collection of memories and ideas from the director’s past that he thought was “film worthy.”

There is so much going on here, and it can be thrilling to watch. But so many strings are presented but then left dangling that I felt helpless to try to figure it all out. It left me with no cohesive feelings other than just a collection of sporadic ideas, some good, some funny, some wild. And maybe that’s the point. Maybe this is a film meant to just be witnessed and not overanalyzed or broken down. That’s what my initial takeaway from it is. It’s a love letter to the 70’s and Southern California, with so much style and charisma. But the main character’s exploits and adventures require a great deal of suspension of disbelief or it’s a matter of you buying into the tale, wholesale. And I guess I just couldn’t. It lost me. Plus, the central relationship between two characters never pulled me out of the core uncomfortable feeling I had from thinking this story could not be told in today’s world if their genders had been reversed. It’s a coming-of-age story, to some extent, but the main characters bravura and personality in his attempt to be older than he is makes what should feel wistful and nostalgic seem a bit cheated and inauthentic. Fine acting, memorable sound design, superb art direction, and incredible cinematography are all present here. All of that, at least, is evident from a film appreciation standpoint. Maybe upon reflection, I’ll come to a different conclusion from this film, but fresh off of it, I’ll stand by my own enigmatic statement: I liked it, but it wasn’t good.

Rating: 69

9: Belfast

I’m not sure exactly what to make of this one. With accents thick enough to require me to use subtitles, I admittedly felt somewhat of a disconnect with this film from the start of it. It is a lovely piece of cinema to look at but at the same time, the stylistic choice of black and white film stock seemed to clash with its soundtrack full of period-specific yet anachronistically sounding tunes. Van Morrison would swoop in several times to serenade us non-diagetically and each time it felt incongruous. These musical transitions were so jarring that it took me out of the film each time. The story is a simple one, set against a complicated backdrop of early 1970’s strife in Northern Ireland. I, being only vaguely aware of “The Troubles” conflict, would have preferred a bit more context and wider view of the political and social events that took place at that time. But this film doesn’t concern itself with those matters beyond their vague framework. Instead, the film is a small, intimate portrait of a family navigating the strife around them, maintaining their humanity and their spirit throughout.

I had trouble connecting with the characters, though. And I blame that more on the staging than the thick Irish accents. There seems to be a thin layer of artifice that hovers over the entire operation. Branagh has chosen long, wide shots for most of the conversations between his characters and the result is a theatrical feel of woodenness and line memorization rather than emotion and acting. It was yet another drop in the bucket for me not being able to fully connect with the film. Too many instances of that happen here for me to walk away from it giving it high praise. Plus, though Balfe and Dornan are beautiful to look at in their roles as the parents, they just seem out of place for what should be working class Irish parents. This is also yet another entry into the pantheon of personal, “memory” films by directors (Roma, Licorice Pizza, Minari, etc.) who have brought their childhoods to life when they were probably best left as stories told and reminisced upon rather than as fodder for cinema. It’s a pretty film (the abundance of natural lighting is a treat) and it has some fine acting (but nothing outstanding outside of the always strong Judi Dench) and solid scriptwriting moments (though the story is a bit simplistic and tried, plus you slowly grow tired of hearing “wee bit”). But you want the film to touch a deeper nerve within you than it does – than it thinks it does. This film was merely okay. Not great and certainly not Best Picture worthy, in my opinion. But it’s decent and engaging in a mildly enjoyable way.

Rating: 67

10: Nightmare Alley

I knew going into this one that I wasn’t going to like it. That’s a combination of the director (I’m just not a fan of del Toro’s work) and the subject matter and look of the film (psychological thriller wrapped up in retro faux film noir). Well, typically when I go in with low expectations, I come out the other end having enjoyed the film more than I thought I would. Not this time. My expectations were spot on. This was a boring, aimless, plodding film with unlikable characters and absolutely nothing to root for. In my opinion, the filmmakers think this is highbrow and intelligent cinema when it’s really just overly lit, overly art-directed, vampingly acted, sadistic schlock. Cooper is fairly magnetic on the screen and it’s somewhat interesting to watch his character arc. But whatever steam this film builds, it happens in the final 30 minutes but it’s too little, too late to save all that came before. I’m guessing it got a Best Picture nomination simply from Academy cronyism, with Cooper’s fame and track record and del Toro having helmed the previous (underwhelming) Best Picture winner, The Shape of Water. I was bored and I did not enjoy it and I really don’t want to think much more about it so here endeth the review.

Rating: 57

So that’s it. That’s my take on the 10 nominees for this year. Once again, like last year, I found this year’s crop of nominees to be underwhelming. It feels like the Academy is checking off boxes for inclusion and pedigree here and the resulting list is a jumble of films that look and feel like they are Oscar-worthy, but upon closer inspection, they don’t hold up.

I do have to say that I find myself feeling entirely too analytical and critical after finishing my viewings this year. There was not a lot of joy or entertainment for me as I worked my way through these reviews. And it felt like work. It felt like many of these films were chores to watch. It shouldn’t be like that. I miss the joy and wonder of going to the theater and being blown away by what I see onscreen. That may be a result of the rise in streaming options for viewing (I saw 8 of these 10 films sitting on my couch) but I think it’s also a product of a film industry trying to find itself as it tries to both entertain AND make art. As for the overall takeaway from these 10 films, the result is general disappointment with a few high marks.

Here are my Should Win/Will Win predictions for the top prizes this at year’s ceremony:

Best Picture – Should Win: Dune; Will Win: CODA (though The Power of the Dog could prevail)

Best Director – Should Win: Ryusuke Hamaguchi; Will Win: Jane Campion

Best Actor – Should Win: Will Smith; Will Win: Will Smith

Best Actress – Should Win: NA (I saw none of the nominated performances); Will Win: Jessica Chastain

Best Supporting Actor – Should Win: Troy Kotsur; Will Win: Troy Kotsur

Best Supporting Actress – Should Win: Aunjanue Ellis; Will Win: Ariana Debose

Best Adapted Screenplay – Should Win: Drive My Car; Will Win: CODA

Best Original Screenplay – Should Win: Don’t Look Up; Will Win: Belfast (though I wouldn’t be surprised if The Worst Person in the World slid in here, that’s one that I want to see)

Let me know what you think in the comments. What was your favorite film? Am I wrong on some of my takes – or spot on? I’d love to hear your thoughts.

This marks the 25th year of this hobby of mine. I’ve carried on this “Oscar Adventure” of seeing each Best Picture nominee each year since 1997. When the films that have been nominated for the Academy Award for Best Picture are announced, I make a point to see all of them before the Oscar telecast (which for this year, takes place Sunday, March 27th).

The criteria I use to judge the nominees is a long, convoluted mix of cinematic artistry and entertainment. I try to go into each film viewing with zero expectations and as little knowledge of the plot as possible. And I always try to form the basis of each review immediately after the film is done, jotting down notes that I later turn into these write-ups.

Thank you for taking the time to read them. I love this annual tradition. I hope you’ve enjoyed reading it as much as I enjoyed watching the films and writing about them.

The 8 nominees for Best Picture at the 2021 Academy Awards, aka The Oscars, ranked in order, with my own personal take on and rating for each:

1. The Father

I don’t know what dementia must feel like. But this film does an incredible job of conveying it. A world of confusion and repetition, thinking you have a solid handle on everything and that handle slowly becoming more and more loose as time passes. This is an extraordinary film. It drops you in the world of its characters and then systematically starts to toy and tinker with that world to the point that you, the viewer, find yourself continually disoriented. Even as you start to pick up on the web that it is weaving, you don’t exactly know what lies around the corner and what mirages lie ahead.

This a film of melancholy and ache. But it is so expertly crafted I found myself being mesmerized by the puzzle that it slowly put together in front of my eyes. Hopkins is incredible in his role here. I suspect he will win the Best Actor prize. And Colman is stellar – worthy of Best Supporting Actress. Their characters aren’t as fleshed out as I would normally prefer but the notes the story does require them to hit are strong and compelling. It is amazing to empathize with each of them as the film rolls forward and to see how each is drifting along toward an inevitable conclusion.

The cinematic aspects are sparse, as you can see the trappings of the play upon which it is based. I imagined this story on stage as I watched and it made complete sense. But what aspects are on display are impressive. The art direction and set design are so subtle and important, as the main character’s world starts to shrink and disintegrate, you feel that in the set pieces. The editing is the work horse here. Such craft to tell this story from shot to shot, scene to scene, with an intricate structure. This is a tough film to recommend as it is quite downbeat and sad – it’s an uneasy watch. But it is quiet and affecting, and rich and plentiful in its skillset. And that is the impression with which I am ultimately left.

Rating: 93

2. Nomadland

This is a beautiful tone poem of a film. It shines a warm, reverent light on the people our society too often overlooks. It makes stars of the ordinary. There is a wonderful documentary feel to this film, as it mixes actors with what are surely real-life people, not so much acting as telling their own stories. And they are lovely stories. It is a window into a specific, fringe corner of this world. And it treats its subjects with a dignity not typically seen in films of this ilk.

There isn’t really much here in terms of plot, but that’s not the point. The film becomes this comfortable place that you find yourself familiarizing yourself with, knowing what will surely happen in the next scene and the next and so on and so forth because it does such a fine job of communicating its own language and the rules of the world it has created. There are small, tender moments that are either poignant or delightful or melancholic, but each is interesting in its own right. The cinematography is impressive and the acting is so lived in and real.

McDormand is a magnet on the screen. You follow her weary but hopeful visage wherever her character’s story may take you. I think she will take home the Best Actress award. The score is a standout. It provides a perfect audio backdrop to the proceedings. I really enjoyed this film. It’s unconventional but at the same time, familiar. It weaves a unique but relatable tale. It is surely not for everyone but for those that do connect with it, there is rich reward.

Rating: 90

3. The Trial of the Chicago 7

This is a thoroughly entertaining, gripping, twisting, funny, serious, and engaging drama. It’s history brought to life for me, who happened to be born after the 1968 events depicted in the film. The filmmakers do a fine job of establishing the context of what we’re watching, interweaving actual newsreel footage with the dramatic re-enactments. It gives the film a verisimilitude that lends a sound credence to what we are watching. The film certainly has a political slant to it. However, without giving too much away, I was struck by how the actions and motivations of the protagonists and the protesters in this film would mirror, to some extent, the present day Capitol rioters or January 6, 2021. It makes for a fascinating glimpse at the razor’s edge of politics and how one’s beliefs can be viewed differently or even skewed by the opposing force.

The acting is solid across the board, with some fine performances – especially by Rylance, Redmayne, and Cohen. Three non-American actors who step into their roles of American figures and deliver nuanced, forceful portrayals. The writing is a treat, as writer/director Sorkin provides his trademark fast paced, quick witted script with great strokes of poignancy, honor, and frustration. Not knowing how the story ends, I was genuinely locked in on what would happen next and it made for a fun film viewing experience. Other than the editing tactic of splicing of actual historical footage, the rest of the filmmaking is somewhat bland. The cinematography and directing do not stand out, but perhaps that was conscious choice to allow the heavyweight script to shine. If so, that choice succeeded. I enjoyed this film. I could see it being the best picture winner, as it has all the earmarks of what the Academy likes to award.

Rating: 89

4. Judas and the Black Messiah

This film is history come alive. It is a weathered, lived in glimpse into a powerful movement of the 1960’s and 1970’s. It gives a layered and well-rounded depiction of a political party that too often gets painted with a broad, stereotypical brush. I know I, myself, am not as versed in the history of the Black Panthers and this film gave me insight into what they stood for and the causes they held dear. It’s a well-made film. The art direction, cinematography, and score set the scene for a marvelous bit of time travel to that era.

The acting is impressive, with Kaluuya and Stanfield both delivering solid, affecting performances. I was especially impressed by Stanfield’s raw, anxious energy for a flawed, multi-layered character. The rest of the ensemble cast is equally up to the task of bringing this story to life. It’s not a perfect film and there are times when the momentum slows significantly. Plus there are scenes that feel pulled from a completely different movie. But the complete piece is a good watch and its effect is powerful – particularly the true-to-life epilogue that puts a poignant period on the end of this film’s sentence.

Rating: 82

5. Promising Young Woman

This film is diabolical. It makes you hope and wish and expect for certain things to happen, and at every turn, it delivers punches to the gut, again and again. I enjoyed the film, but it left me feeling icky and disappointed. It is such a witty, electric piece that unfolds its plot with vengeful, devious glee. But the electricity and vicarious joy felt early in the film as you identify and connect with the main character and her plight…well that is all stripped away, rather nihilistically as the film barrels toward its inevitable conclusion. I just wish it had been less inevitable. And perhaps that’s a reflection on the film’s charged subject matter of consent and the predatory nature of men. It’s not always comfortable and cozy. We must deal with the repercussions of our actions.

There are cinematic moments in abundance here, with flashes of precise staging and stylized cinematography. And the editing is on point and deliberate in a way that crafts a defined language that informs the viewer with proper anticipation of scenes to come. Mulligan does a fine job in the lead, but it feels justifiably incomplete. Burnham turns in an admirable, layered performance that caught me off guard. Without context, the line from The Godfather, “Just when I thought i was out…they pull me back in.” I enjoyed this film but it was not a full enjoyment. I’m left frustrated, and by saying any more, I’d reveal too much. I will simply say, it’s a fine, problematic film and it is worthy of its Best Picture nomination.

Rating: 79

6. Sound of Metal

This film has sober respect for how our senses interact with our world. It is a story of sound and vibrations and sensory deprivation. This film starts loud, ringing in your ears with abrasive music and cacophony, and then shifts to a quiet moment. And that transition sets the tone for the rest of the film – interweaving what we hear and how we hear it within the empty spaces and the noises we take for granted. There is a subtly to the storytelling here, one that becomes a bit too subtle, at times, leaning on the audience to fill in gaps and suspend disbelief for the sake of the story. There are contrivances that are a bit of a stretch but they are handled with fleeting deftness. The film is well-made, with a respect for cinematic language (transition shots, cinematography and editing all shine) and a very focused soundscape. It does an admirable – and at times, wondrous – job of conveying a world of deafness.

Ahmed does a fine job of acting but his performance never fully develops the dimension that the role requires. His motivations and comfort shift in unearned ways, I felt, as the character was made to serve the overarching story in ways that felt untrue at times. Still, it is a raw performance that holds the film steady in its uneven moments. Raci provides a nuanced, stoic performance in his supporting role. I liked this film, but that’s about it – like. I wanted to love it but it never dove to the depths or ascended to the heights that I felt it had the promise to reach.

Rating: 77

7. Mank

There’s a lot going on in this film. Some good, some bad, some confusing, and some boring. It’s a throwback to old Hollywood and it’s appreciation for its subject matter is quite impressive. The lighting, cinematography, set design, and editing are all top notch here – period-specific and reverential. The script is both a treasure trove of zingers and one liners but also muddled politics and dense battles of personality. The acting is quite good, all around, with Oldman doing a fine job, even if it’s tough to believe him as a 40-year old. He’s a believable drunk though.

There is some strong ensemble acting, especially the female actors. Seyfried, Collins, and Middleton all deliver nuanced and emotionally steady performances. Be sure to be familiar with the film, Citizen Kane, before you watch this film. One might say it’s required reading. The whole film felt like a wink-wink inside joke with a level of heaviness and importance about itself that it doesn’t do a suitable enough job of earning. I liked this film but found it plodding and underwhelming. I think if you’re not a fan of film history, you might not enjoy this one. It’s not Fincher’s best work – I would put it toward the bottom, actually. But he’s so talented that even his weaker outings have value and still manage to entertain.

Rating: 73

8. Minari

This a quaint, small film. Much like Roma, it feels like a childhood collection of memories brought to life by the hands and minds of the filmmakers. The story is sparse but it reveals a slice of immigrant Americana that has rarely been captured on film. The pace is slow and unintentional, while the events carry, simultaneously, both a light, playful feel and an ominous sensation. With a few fairly telegraphed exceptions you, don’t know where this film is going. But when it’s journey finally gets there, you question was the trip worth it. I was underwhelmed by this film.

The acting is decent, with a handful of sharp, powerful scenes. But taken as a whole, the cast delivers an ensemble performance that is slightly wooden – one that, across the board, never allows you to care about these characters in the way that you want to. The film feeds off the chaotic energy of the grandmother character (Youn) and it suffers when the storyline diminishes that energy. I will say that the score was memorable and moving. I kept willing the film to make me want to enjoy it more, but it never rose to the occasion. It is a pretty film, but nothing onscreen, with regards to the direction, cinematography, or art direction is anything I haven’t seen before. This is a small story that has been given a large spotlight thanks to its Best Picture nomination. And in my opinion, the finished product suffers in that bright light. It seeks to ascend to some transcendent plane of quiet art – but it’s simply not powerful enough to get there. Taken on its own merits, it’s a decent, affable, somewhat affecting but, for the most part, boring film.

Rating: 69

So that’s it. That’s my take on the 8 nominees for this year. I found the crop to be a bit underwhelming but it was still a good mix of films this year. It was a weird year with the pandemic pushing the ceremony back. I only saw 2 of these 8 films in theaters. That was a product of the oddness of the year, as well. I think the smaller films cracked through this year as a result of that COVID influence and the push toward streaming movies as theaters closed down.

Let me know what you think in the comments. What was your favorite film? Am I wrong on some of my takes – or spot on? I’d love to hear your thoughts.

This marks the 24th year of this hobby of mine. I’ve carried on this “Oscar Adventure” of seeing each Best Picture nominee each year since 1997. When the films that have been nominated for the Academy Award for Best Picture are announced, I make a point to see all of them before the Oscar telecast (which for this year, takes place Sunday, April 25th).

The criteria I use to judge the nominees is a long, convoluted mix of cinematic artistry and entertainment. I try to go into each film viewing with zero expectations and as little knowledge of the plot as possible. And I always try to form the basis of each review immediately after the film is done, jotting down notes that I later turn into these write-ups.

Thank you for taking the time to read them. I love this annual tradition. I hope you’ve enjoyed reading it as much as I enjoyed watching the films and writing about them.

The 8 nominees for Best Picture at the 2019 Academy Awards, aka The Oscars, ranked in order, with my own personal take on each:

1. BlacKKKlansman
An incredibly skillful and impressive film that wields great power and raw emotion. But it is also quite deft, comedic, and above all, entertaining. This is a film that cuts open the racial war rooted in the 1970s but makes it searingly relevant for today’s charged political and racial climates. This is one of Spike Lee’s most sure handed films, in my opinion. Great cinematography, a sharp script, and impressive sound design and music all contribute to a very satisfying cinematic experience. There are varying degrees of acting scales on display, with strong performances by Washington and Driver, but also populated with frustratingly one-note stereotypes that serve the story but prevent the matters at hand from ever truly feeling 100% real. The film paints a picture of good versus evil and it’s very easy to root for the good guys. I wish that weren’t so blatant but the bad guys in this instance make it all too easy. There is an intensity and electricity that courses throughout the entirety of this piece. Great suspense and high-wire identity drama are on full display. I really enjoyed this film and was surprised by how satisfying I found it to be. I was also taken back by how powerful and affecting it was when it was all said done. The filmmakers make a statement… and it is a powerful one. This is the top film of this year’s crop, in my opinion. I don’t think it will win, but it would certainly deserve to.
Rating: 93 (out of 100)

2. Bohemian Rhapsody
Hopefully you’ve experienced the thrill of a live concert in your life. The music pulsating, the crowd roaring, the adrenaline flowing… you forgetting your troubles as the band takes you away with their songs. If you haven’t experienced that, you’re missing out. But you’re in luck – this film comes as close as any one I’ve ever seen to capturing that feeling. It’s capably directed, well-acted, exquisitely performed, measured and balanced, wild and playful… everything Queen was on stage and in their music. It is an extremely well-done portrait of a band, a man, and their story that gives depth, background, and poignance to so many of Queen’s songs in a way I had never experienced. As a measured film, it is a tad too pedestrian overall but it has its flourishes and they are quite grand. Malek’s lead performance is exhilarating and Best Actor worthy. The editing is a standout for me, as is the cinematography. It’s not flawless – like missed notes and off rhythm moments in a live musical performance – but that doesn’t take away from its charm and the way it makes you feel. I chose to judge this film based on the sensory experience of it, and as such, it succeeds, and I quite enjoyed it. I went in skeptical and it won me over. Mr. Mercury famously sang “we will rock you” and this film most certainly did.
Rating: 88

3. The Favourite
This was such an odd, fascinating fractured gem of a movie. It was like looking back into a period in history using the microscope of a modern eye. The cinematography is wild and balletic at times, and the script is irreverent, cheeky, and equal parts dark and goofy as the film tells this tale of 18th century England with a decidedly anachronistic hand. The soundtrack is a particularly interesting thing in and of itself, with the simple repetitive plucks and strums of stringed instruments giving a sinister, anxiety-inducing cue to events on screen. The tone is purposely uneven and the movie carries a thread of dread throughout it, even as it makes you laugh in delight at times. You can feel the moral scales at its center start to tilt with increasing malevolence. The acting is superb, with each of the 3 main female leads providing a stunning game of wile, wit, and emotions. Olivia Colman is a force on the screen, in a beguiling performance. And Emma Stone provides one of the strangest character arcs I believe I’ve ever seen, all while Rachel Weisz provides a counteracting, steadfast, and noble turn that sneaks up on you with its intelligence, veiled heart, and strength. The film is an interesting artifact of feminism and sexism and power held up to the light for intense examination. Though it does start to grow long in the tooth toward the end and it is not without its flaws, I enjoyed this film. It is an extremely tough one to recommend, but it strikes a peculiar and specific tone that happened to strike me quite well as I watched it.
Rating: 87

4. A Star is Born
This is a well-made film. Great acting, capable and assured directing, sharp editing, phenomenal music, and an endearing script – even if the story, itself, is well-worn and a little bit too cliché, the words of it shine. Lady Gaga gives an amazing performance (Best Actress worthy) and Bradley Cooper is strong and nuanced, though the character leans on stereotypes too much. It provides a glimpse into the behind-the-scenes trials and tribulations of musicians and artists. I was hoping it would go a bit deeper into that world but it only chooses to dip its head just beneath the surface. It instead chooses to dive deep into the core relationship and its emotional waters. There is nothing wrong with that decision, but it’s a story we’ve seen on the big screen time and again. I was hoping for just a little something different. I also had issues with the superficial, tacked-on examination of mental illness. This film has big, wondrous moments that bellow and boast, but it’s the small moments…the intimate details, like a character’s improvised lean-in to hear what was said…those moments are what carry this thing. There’s a lot to like about this film, though it’s not perfect. Still, it puts on a good show, much like its characters on their stage.
Rating: 86

5. Vice
This movie feels like a brainstorming session splayed out across the screen, with ideas and energy flowing profusely. It’s an entertaining take on history that is unabashedly biased but still peppered with just enough evenhandedness to open your mind up to the message it attempts to convey – or should I say, the message with which it bludgeons you. The political and historical tales ebb and flow with varying degrees of interest and banality. But it’s the storytelling style that is both the most impressive and yet the most scatterbrained part of this film. The filmmakers are giddy with the tools and tricks they use on the screen. It’s fun to watch and downright hilarious at times, especially when it chooses to break the fourth wall. Plus, it boasts one of the most innovative narrative devices I’ve seen in cinema in a long time. The cinematography and editing are overdone, but the acting is solid – I continue to marvel at Bale’s ability to physically transform into his characters. And one of the most pleasing aspects of this film is the slivers of humanity that he gives the main character, that peak out from underneath the steely villain the story wants him to be. My brain is full after watching this film. It’s pretty good, but definitely pockmarked with flaws. There is a general sense of throwing everything against the wall to see what sticks and assuming that there is some greater insight presented after doing so. Still, it’s a visceral slice of American history that makes you cringe with the knowledge that all of it happened right before our oblivious eyes.
Rating: 82

6. Green Book
Simply put, this is a smile of a movie. It’s a comedy wrapped up in something that feels like it should be more dramatic but has, instead, decided to dance around the edges of its more serious subject matter with regards to race relations in the 1960’s. Even so, it’s a playful and fun film, with two compelling main characters whose charisma and charm, as well as a delightfully comedic script, carry this piece. There are numerous flaws (simplistic staging, one-note acting, stereotypical story crutches, heavy handedness with delicate subject matter, etc.) that orbit around Mahershala and Mortensen but their performances cut through them to deliver an entertaining experience. They provide two rich, detailed characters with equal parts grace, pathos, and nuance. The music pulsates at the core and the travelogue aspect of its road show approach is nice, if a good bit under delivered. Green Book has heart and warmth, wit and crispness and it was a refreshing Saturday evening cinematic trip for yours truly. It is a decidedly black-and-white movie to a great extent but I kept hoping for just a little more gray. It’s not a great film, but it is a good one and I thoroughly enjoyed it.
Rating: 81

7. Roma
A fascinating but frustrating film. Filmed in sumptuous black and white, pockmarked with subtitles, and teeming with artistry and attention to detail, this film seeks to transport the viewer through time, back to a place recalled from the filmmaker’s childhood. It manages to achieve that effect – you feel as though you are in the past – but it’s at the expense of a compelling viewing experience. This film is the equivalent of someone telling you stories from their past but the stories are just visuals and lived-in memories, rather than a yarn that deserves cinematic treatment. It is a beautiful, carefully crafted film and the characters feel lived-in and real, and there is some deeply emotional material present (that only gets a half-hearted exploration). And there are several magnificent long take scenes, which are this director’s trademark. But when all is said and done… it’s just boring and to a fair extent, a bit pretentious (as though the director feels imbued with the power to entertain and captivate the viewer no matter what he decides to put on the screen). It is a film that is not as compelling as it wants to be or thinks it is. I felt as though I was reading a visual memoir – watching someone’s slideshow of their childhood. And yes, that can be as boring as it sounds. That being said, this is my prediction for the Best Picture winner – there seems to be a groundswell of support for it.
Rating: 74

8. Black Panther
I believe I’m going to be in the minority with my opinion on this film. I watched it long before the Oscar nominations were announced, but there were already rumors that it may sneak into the Best Picture conversation. Unfortunately, knowing that seemed to hinder my ability to evaluate this film on its own terms and its own merit. It is a fairly entertaining popcorn, blockbuster movie. And it seeks to deliver a social message of some sort though it doesn’t fully achieve its purpose. But when viewed strictly as a comic book movie, it is quite fun – even if it has some questionable moments and frustratingly mind-bending suspension of disbelief, even for a comic book movie, that it requires of its viewers. I will say that Michael B. Jordan‘s character was a highlight. Beyond him though, the rest of the affair is merely okay. I recall the effects being so-so and the set design being visual overkill. The sound and film editing are standouts, though. Maybe I’m just getting too old for kids’ movies that the world wants me to accept as high–quality film. To some extent, I can understand why this was nominated for Best Picture. But I don’t think it should have been.
Rating: 70

So that’s it. That’s my take on the 8 nominees for this year. I didn’t think this year’s crop was particularly strong compared to previous years, but they were, at least, entertaining across the board. And I know full well that my tastes and the Academy’s don’t exactly align.

Let me know what you think in the comments. What was your favorite film? Am I wrong on some of my takes – or spot on? I’d love to hear your thoughts.

This marks the 22nd year of this hobby of mine. I’ve carried on this “Oscar Adventure” of seeing each Best Picture nominee before the Academy Awards telecast for each year since 1997. When the films that have been nominated for the Academy Award for Best Picture are announced, I check and see which ones I’ve already seen and then I make a point to see all the remaining ones before the Oscar telecast (which for this year, takes place Sunday, February 24th).

The criteria I use to judge the nominees is a long, convoluted mix of cinematic artistry and entertainment. I try to go into each film viewing with zero expectations and as little knowledge of the plot as possible. And I always try to form the basis of each review immediately after the film is done, jotting down notes that I later turn into these write-ups.

Thank you for taking the time to read them. I love this annual tradition. I hope you’ve enjoyed reading it as much as I enjoyed watching the films and writing it.

The 9 nominees for Best Picture at the 2018 Academy Awards, aka The Oscars, ranked in order, with my own personal take on each: