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
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
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
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.
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