The Andy Hardy Oscar Party – Academy Awards Best Picture Reviews

Tag: academy awards

  • Best Picture Nominee Viewings Recap 2026

    Best Picture Nominee Viewings Recap 2026

    Jump to the reviews

    This marks the 29th year of this hobby of mine. I’ve carried on this “Oscar Party” (originally it was The Andy Hardy Oscar Adventure but that URL was just to darn long).

    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 15th). I’ve done this every year since 1997.

    Here are the 10 nominees for Best Picture at the 2026 Academy Awards, aka The Oscars, ranked in my order of preference, with my own personal take on and rating for each:

    1. One Battle After Another

    I really enjoyed this film. It’s a drama, a comedy, a paranoid thriller, and absurdist romp all rolled into one. I’m a fan of the writer and director, Paul Thomas Anderson. But I’ve been underwhelmed by his last few features – even though the two most recent were Best Picture nominees, as well. I know it’s not completely fair to judge this work against past ones but here we are. So I went into this one skeptical but optimistic, just based on what I knew of it and what little I’d seen and heard about it. Needless to say, I was not underwhelmed. I wasn’t overwhelmed either. But I was on the very high plus side of whelm, that’s for sure. Though it took a bit of time to really draw me in, once it did…I found myself in the grip of a fun, exhilarating, nerve-wracking ride. It has incredible cinematography, a crackling script with equal parts wit and pathos, and some truly fine acting. The music and score are a treat, as well. The true might of this film is the glimpse it gives into a whole host of other worlds, bubbling under the surface of our daily facade – revealing so many battles of so many different, disparate groups. It’s a wild, incredibly well-made piece of cinema. I don’t know if it has enough on its own to win Best Picture but I have a hunch that it will ride a wave of current events — that mirror the fights of the film’s myriad of protagonists — to bring home the top prize.

    Rating: 95 (out of 100)

    2. Hamnet

    When I tell you that I went into this movie completely blind, not knowing anything about it at all, I must say that I’m glad I did. I am most certainly glad I did. I didn’t know what to expect, and I was slowly overtaken by this truly impressive film. I’m not going to reveal anything about it other than to say, if you read the first sentence of the synopsis for it, you will instantly know way more about it than I ever did going into it. The reveal of the main character’s identity was even somewhat of a plot twist for me. What an amazing way to experience this piece of art. I can tell you that it is well-scripted, incredibly well-acted (Buckley is deserving of an Oscar and Mescal is magnetic), the score and the sound design are truly great, and the direction is superb. I said previously that I was slowly overtaken by it – that is the best description. It beguiled me as it built to a swelling and incredibly satisfying, emotional conclusion. I’m still somewhat in awe of how my choice to blindly experience this film made for such a wholly unique trip to the theater. And even if you do know what it’s about going into it, dive into it and witness some truly great filmmaking. I’ll never know if my review of it would’ve been rendered differently had I known more going in, but I will say this: this is a great film and deserving of Best Picture should it win.

    Rating:95

    3. Sinners

    I sit here on July 25, 2025 as I write this. I write this having seen way too many TikTok videos of this film before I ever chose to sit down to watch it in full. Clips that gave away way too much of the story that I wish I could rewind and erase from my memory and watch this film fresh and clean, with no prior knowledge. Because I would have enjoyed it so much more than I just did. And let me tell you…I very much DID enjoy it still. My goodness. This was a good film. I went in jaded and seemingly knowing what was to come. But this film still surprised me. And it entertained me. It delivered a film experience I wish I could have witnessed at the source, but even still, it delivered. It had charm, it had style, it had wit, it had artistic daring-do, and it had an incredibly well plotted story that slowly sucks you in (pun intended) and doesn’t let up as it sinks its teeth in. I know this will be nominated for Best Picture and I have no clue what it will be up against, but whatever those foes may be, like the protagonists of this films, may they be worthy.

    *I watched it again on Dec 27, 2025 and plainly updated my notes with the following:
    This will win Best Picture.

    Best Supporting Actress
    Best Original Screenplay
    Best Art Direction
    Best Costumes

    But that was before I saw the two films above it in this list. So I have to revise that once confident prediction and simply say that I thoroughly enjoyed this film and I would be satisfied if it were to grab into the top prize.

    Rating: 92

    4. Marty Supreme

    This was two and a half hours of uncomfortable, stressful, anxiety-inducing, thoroughly compelling, impressive cinema. It’s tough for me to say that I enjoyed this one because it is such a nerve-wracking film. But I was impressed by it. It’s well made, well acted, incredibly well scripted (maybe even Best Screenplay worthy), and inventive. The main character is a unique individual and Chalamet injects so much energy, bravado, cockiness, and depth into him that I was both transfixed by the performance and pissed off at the same time. The anachronistic soundtrack is a treat as 1980s pop and new wave music plays over a 1950s story. It could easily be a gimmick, but for this it works, and it provides an undercurrent of charged atmosphere and anticipation that I don’t think period appropriate music — or a relative musical score — could have achieved. Oh and on another note, I truly did not anticipate being reminded of the opening credits of “Look Who’s Talking” while watching the same part of this film (if you know, you know…). This film and its story manically bounces all over the place at a feverish pace, balancing drama, suspense, intrigue, and flashes of pseudo-screwball comedy. It’s entertaining, for sure, but I never once got comfortable (knowing it was from the same writer/director as Uncut Gems added a sense of dread for me that ultimately wasn’t warranted). There are no pressure release valves contained within. Grab a hold and hang on for the ride. I think it’s a worthy Best Picture nominee.

    Rating: 89

    5. Train Dreams

    My first instinct was to say that I enjoyed this film. But I can’t really say that I “enjoyed” it. Better put, I appreciated it. It’s a beautiful film that tells the story of an otherwise inconsequential life, but it’s a story previously untold – and therefore, a wonder to experience. Such detail of a time gone by, rendered alive in a quiet, cinematic tone poem. It ambles along but it’s not until its conclusion, when it sweeps back over all that the viewer has just witnessed that it then sinks in that it was, indeed, a life of consequence for our main character. The cinematography is amazing, with some truly beautiful frames and scenes. The acting is lived-in and true, with nothing amazing transpiring onscreen but also completely believable and nuanced. Edgerton is tasked with carrying this endeavor and he does a fine job. The script is bare but still full of interesting tics and measures, and the narrative viewpoint makes for a curious but satisfying bit of dramatic irony as it goes along. Typically, I’m not a fan of the reliance on dream states and imagined scenes the way this film utilizes them, but it works for this one. A sense of dread courses throughout the film but it also carries a luminous feeling of wonder. I find myself wanting to go on a hike so that I can connect with nature in the way this film showcases its majesty. I take it back…I did enjoy this film. It is a fine and deserving Best Picture nominee.

    Rating: 87

    6. Sentimental Value

    This is a carefully made, contemplative film. As I think back on it, writing this, I can’t decide if I liked it or if I’m simply aware and recognizing of it. It is well made and expertly constructed. But there is something detached about it — and altogether boring at times — that keeps me from praising it fully. It explores the ties that bind — and unbind — with regards to family and parents and fathers and daughters and sisters. The acting is accomplished Skargård and Fanning, especially), but again, it’s all a bit too detached. I found myself asking for more and wanting to delve deeper into what made these characters tick. This film feels like a spiritual sequel to The Worst Person in the World and I know that’s the result of the same lead actress, Reinsve, being in both and it coming from the same director. But I don’t think having watched that other film prior to this one did it any favors. I found myself drawing connections that might not have been intended to exist. This is a good film and deserving of its nomination, I feel. I just decided that as I wrote that previous sentence. The editing, the camera work, the art direction, and the script are all a notch above your typical cinematic fair. Add it all together and it makes for a good, somewhat satisfying film, just not one I can say I thoroughly enjoyed. But that’s what you get with some of these Best Picture nominees from time to time.

    Rating: 79

    7. F1: The Movie

    This is a (pun intended) formulaic movie. But it’s a very well made one. It has the blueprint of an “underdog overcomes” story down pat but it throws in enough twists and turns — like the race courses its drivers have to navigate — to keep you from completely rolling your eyes at how it all plays out. I enjoyed this film – so much so that I drifted off multiple times from viewing it as a FILM and instead let it take over my senses like the popcorn MOVIE that it is. But that’s the thing…it’s a supremely well made popcorn movie. You can tell the filmmakers love their subject matter. There is real care here. And the symbiosis with the actual F1 players is evident. From a film perspective, it has great cinematography, impressive editing, and an immersive score. The acting is…well, it’s what the movie calls for. It’s not great but it fits the part. The same goes for the scriptwriting. This is not a great film. But it’s a fun, and for the most part, satisfying one.

    Rating: 73

    8. Frankenstein

    I was not looking forward to this one. I was not a fan of del Toro’s last two Best Picture nominees (The Shape of Water, which incidentally won, and Nightmare Alley). I find his work dark, wet, and gothic, and often cruel and gory. But I must say, I think it was unfair of me to bring those preconceived notions and expectations into this one. I actually enjoyed this film. It’s not great, mind you, but I was entertained by it. It has boring stretches, and inane dialogue, for sure, but intermixed within that is a gripping tale that slowly builds and comes to life across the course of its story – that’s probably a fitting metaphor based on the subject matter. It’s hard to get past, though, the heavy-handed seriousness and lofty, dramatic weight this film wants to carry. As beautiful and as caringly photographed as it is, and as impressive as the makeup, production design, costumes, and effects may be, it’s just a bit too tough to completely immerse myself in the world that it creates. It’s a sumptuous world, but it is planted squarely in imagination verging on fantasy. That’s not a complete detractor though. The acting is at times melodramatic but it fits for what this sets out to be. The story is a known one, but rendered fresh and surprisingly alive (pun intended) here. The film hums with energy when the Creature is present, though the logic it carries with it is highly questionable in several places, even for a plot that deals with reanimation and defeating death. I might sound like I’m trashing this one, but I’m merely picking at the parts that bugged me. But if I step back and look at it as a whole, I find myself content with what it showed me. I don’t think it stands much of a chance at winning, but if nothing else, Guillermo del Toro won me over just a little bit. Long story short…I liked it. It was long winded and a bit pretentious but nevertheless, I liked it.

    Rating: 72

    9. Bugonia

    I did not like this film. It’s off kilter and unsettling but I can normally either look past films like that or even sometimes embrace them. But with this one, I just found it too sadistic to even give it a chance. It left me with a sinking feeling and I’m sure that’s what the filmmakers intended but it’s not what I look for in my entertainment — if you can even call this that — these days. The film does have its merits: the acting is superb (especially Plemons, who was snubbed for an acting nomination, in my opinion), the score is grand and impressive, and the script is an interesting take on the genre. I just can’t get past the “look how smart we are” game the filmmakers are playing. I enjoyed Yorgos Lanthimos’ The Favorite but did not enjoy his Poor Things (both previously nominated for Best Picture) and I went into this one fearing he was trending toward even more absurd sadistic sexism, misogyny, and degradation masked as female empowerment. This is being called a “dark comedy” but it has a bleak air of pretentiousness and exploitative salaciousness that kept me from enjoying what could have been a fun, genre-bending excursion. I give it props for being inventive…that’s about the best I can say about it.

    Rating: 63

    10. The Secret Agent

    I kept waiting for this film to do something…to be good…to be worthy of me watching it as a Best Picture nominee. That never happened. Simply put, it’s a boring movie that has a lot of loosely tied-together ideas that ultimately go nowhere. The acting is fine (though I’m honestly not sure why Moura received his Best Actor nomination) and the cinematography and editing are impressive. But the story meanders vaguely — and in one instance, nonsensically — and, ultimately, left me unsatisfied. The best thing I can say about it is that the production design is impressive as the film captures the aesthetic of the late 1970s quite well. I didn’t know anything about this one going in and, in a way, I can say the same thing about it after having watched it. I’m clueless. It feels like it may be a token nominee for international films but that doesn’t even make sense (especially with Sentimental Value already nominated). All I can figure is I do recall seeing a large number of film production companies flash across the screen at the start. Maybe there were so many people with their fingers in this one that enough of them banded together to make sure it got a nomination. This was a disappointing end to my Oscar viewings.

    Rating: 61

    So that’s it. That’s my take on the 10 nominees for this year. A decent, enjoyable crop of films. I think it was a solid slate.

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

    Best Picture – Should Win: One Battle After Another; Will Win: One Battle After Another

    Best Director – Should Win: Paul Thomas Anderson, One Battle After Another; Will Win: Paul Thomas Anderson, One Battle After Another

    Best Actor – Should Win: Timothee Chalamet, Marty Supreme; Will Win: Michael B. Jordan, Sinners

    Best Actress – Should Win: Jessie Buckley, Hamnet; Will Win: Jessie Buckley, Hamnet

    Best Supporting Actor – Should Win: Sean Penn, One Battle After Another; Will Win: Delroy Lindo, Sinners

    Best Supporting Actress – Should Win: Amy Madigan, Weapons; Will Win: Teyana Taylor, One Battle After Another

    Best Adapted Screenplay – Should Win: Paul Thomas Anderson, One Battle After Another; Will Win: Paul Thomas Anderson, One Battle After Another

    Best Original Screenplay – Should Win: Ryan Coogler, Sinners; Will Win: Ronald Bronstein & Josh Safdie, Marty Supreme

    Let me know what you think in the polls below or 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.

    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 generally spoiler-free 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.

  • Best Picture Nominee Viewings Recap 2025

    This marks the 29th year of this hobby of mine. I’ve carried on this “Oscar Party” 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 15th).

    Here are the 10 nominees for Best Picture at the 2026 Academy Awards, aka The Oscars, ranked in my order of preference, with my own personal take on and rating for each:

    1. Anora

    What. A. Ride.

    For about 20 minutes into it, I was honestly questioning the selection of this film as a Best Picture nominee. But as it settled in and told its VERY unique story, I realized – as if with a building assurance – that I was watching an increasingly impressive piece of filmmaking. The confident direction and scriptwriting (and editing, I must say, as I saw in the credits that the director is also the editor) blew me away with a building gust. The acting swings from superb to outlandish to quietly affecting. And to see a cast of unknowns (I recognized NONE of the actors and that is saying something) was fun and refreshing. This film takes over your attention and interest with a chaotic energy in disparate and entertaining ways – some even jaw dropping – as it progresses. I love stories that set out to tell their tale with no apologies – “you’re either with us or you’re not” is a wildly free way of storytelling and I always enjoy it. There is film language that it speaks that is subtle but rewarding for those who learn to speak that language. Watching the story and the comedy and drama and tension play out, the filmmakers do a masterful job of blending flamboyant with subtle. I enjoyed this film – even when I wasn’t ready to. It won me over about halfway through it and then continued to justify its victory.

    Rating: 92 (out of 100)

    2. Dune: Part Two

    Jotting these notes down in March 2024 on the same day as the 2024 Oscars ceremony. There’s a good chance this film will be nominated next year so I decided to go ahead and put my thoughts down after watching it. Very entertaining. True spectacle on the big screen. The visuals and the sound design are grand and sweeping. The action set pieces and visual effects are awe-inspiring. The acting feels lived-in and measured and there is genuine, emotional pathos. There are even dashes of humor that ground the story in needed ways amidst all the talk of prophecy, bloodlines, and politics. It does feel a little bit over indulgent at times, getting high off its own (spice) supply, as it were. However, it is a worthy follower of its predecessor. It is an impressive sequel that builds on part one while carving out its own identity. I didn’t enjoy it as much as I enjoyed the first one the first time seeing that one in theaters, but both are so very impressive.

    Rating:90

    3. Conclave

    Conclave

    This film was riveting and suspenseful. Above all, I enjoyed. I can imagine, to certain audiences, the plot may be…too much. And there certainly is a LOT going on in this one. But it is an incredibly well photographed (some stunning visuals and deep, rich mise-en-scène), well acted (a Best Actor win for Fiennes would not surprise me), tightly scripted dramatic thriller that comes to us from the halls of the Vatican. The score truly shines with tension ever present with short string plucks and pulls of violin and cello bows. I also was taken with the sound design – this is film ASMR aficionados would enjoy. Such delicate handling of papers and eyeglasses and papal items…it was a treat to simply HEAR this film. I enjoyed the film but it is not perfect. And it really amps up the drama for the scene in which it is set. But it has a relevant message that resonates in our modern world. Sadly, I think where it lands on the telling of that message will prevent it from winning Best Picture. Still, it is an accomplished piece of cinema.

    Rating: 86

    4. A Complete Unknown

    I’ve never been a fan of Bob Dylan’s music. There’s something about his nasally voice and his to-and-fro-and-back-again lyric arrangement and melodies that has never sat right with my ears. But I think that’s because I didn’t get to experience it anew. I’ve listened to so many derivatives of him that have built on his legacy and changed it and modified it to something more pleasing to my ears. What this film reminded me is that Bob Dylan was pioneer and a gifted songwriter. His songs, dusted off from the records and 8-tracks and cassettes and CD’s of my youth…songs that became so ubiquitous that I resented them for being ever present and overplayed…have been brought to life in this film in a way I’m thankful to see and hear and witness. This story is not a new one – there are so many tepid musician biopics out there – but this one doesn’t fall into the trappings of pain or loss or the cliché storylines that sadly mark so many famous artists. This film focuses solely on the singer songwriter at its core and what it must have felt like to hit the scene and explode like he did. It showcases the songwriting process in an incredibly immersive way. The music is amazing – there were times when the live performances were so good and felt so immersive that when the song finished, I wanted to start clapping, as silly as that sounds. The acting is very well-done, even if it’s scattered a bit from a style standpoint – some loud performances, coupled with some very quiet ones. There’s not much you can say about the scriptwriting but it’s a fun, twisting tale that never bores. The cinematography, the editing, and the direction are solid, but short of anything spectacular. This film made me smile wide with enjoyment and appreciation for what it captures. And Chalamet does an incredible job of acting and singing and playing even if we don’t get much in the way of character (the film’s title still rings true even after the end credits…we don’t truly know the enigmatic Dylan much more than when we started). But anytime he is on the screen, much like Dylan was to those who followed him, he is mesmerizing. I enjoyed this one. It’s a solid, well-made film that has its missed notes and off-key moments…but it’s still a damn good song to hear.

    Rating: 84

    5. Emilia Perez

    This film is unique. And it’s tough to talk about its uniqueness without giving away what makes it so unique. I enjoyed it, I’ll say. But it was a ride. Part expressive musical, part melodramatic Spanish telenovela, part incredibly stylistic cinema with beautiful cinematography, acting, self assured directing…this film is an artist’s vision capably brought to life. I know it’s not for everybody – me included – but to witness it and reflect on it, I can confidently say…it was good….and worthy of this nomination.

    Rating: 80

    6. Nickel Boys

    I can say I somewhat liked this film…even though it was a tough, challenging watch. It is a thoughtful, inventive approach to historical drama. The first-person, subjective camera style (seeing the story literally through the eyes of the two main characters) is definitely a statement, one that I was not ready for and grew weary of in parts. But it’s what makes this film stand out. The script and the acting are far from top notch, but it’s the cinematography, the musical score, and the editing that carry this film. So many beautiful shots that it made me, for the most part, not even mind the patience-straining tone poem approach of the filmmakers. It’s a good film and it tells a harrowing story. But I honestly can’t recommend this one as a film to watch or enjoy. It felt, at times, like a chore for me. That being said, I can still recognize it for what it is and the story it is trying to tell – and the style with which it is told – as being worthy of a best pic nomination.

    Rating: 77

    7. I’m Still Here

    I really wish I hadn’t seen the preview for this film just a week prior ahead of a different best picture viewing (Nickel Boys). The trailer kind of gives the whole movie away. There was much less suspense for me than if I had seen it going in blind. So I had to review it based on how it affected me as is. This is a decent film. It is a time capsule of the early 70s in Brazil. It’s a quiet, personal story that has its joys and melancholy, but it never elevates to anything I would call cinematic. The acting is lived in and almost documentary-esque. I was impressed by the lead actress, Torres, as she juggles sadness, and mothering an equal measure. The script follows along with what is a true story so there’s not much that can be derived from the storytelling other than it faithfully following a sequence of events. The cinematography, the editing, and the blend between historical footage and new is impressive, but nothing extraordinary I don’t want to say this is a piece of paint-by-numbers historical fiction, but that’s what it feels like. And without revealing everything, the ending just doesn’t seem to land the way I think the filmmakers intended it. That being said, this is a faithful, well-made, look into the past. Not my cup of tea, but I can certainly respect its best picture nomination.

    Rating: 74

    8. The Substance

    The Substance

    Holy hell, what did I just watch?? The Substance is a wild – and I mean WILD – ride. One that I’m fairly certain I never want to ever be on again. I really am not sure how this film secured a Best Picture nomination. That’s not to say it’s not well done, by any means. It’s just that I cannot see the Academy picking this one as one of its 10 best for the year. I’m genuinely stunned. But I don’t do this critique the nomination choices…I critique the films that get the nominations. So here goes…[no spoilers but stop reading if you want to be surprised by this one at all]The film itself is incredibly well made with special effects, unique cinematography, editing, and a score/soundtrack that are all powerful and affecting in their own ways. And the story, an acerbic critique of ageism and superficiality in pop culture, is pretty on the nose (there’s a body pun intended there for any one who dares to watch this). This film depicts a battle with society’s view of women and one’s own willpower and it evokes allusions to the Picture of Dorian Gray. It’s a fiendish journey down gross and disgusting paths. It’s upscale, highly cinematic horror – specifically body horror – with the volume cranked up to 11 – and I’m not a fan of body horror at all. The acting, the script, and the direction are all overblown and outlandish but that’s kind of the point with this one. Oh and there was a LOT of nudity. I can say that the film does what it sets out to do and it should be commended for that. It feels like a midnight horror flick that’s been elevated to some higher status, though. It’s not for everyone – me included. That being said, I can still see the effective, demented artistry on display.

    Rating: 64

    9. The Brutalist

    This film is aptly named. It is a long, tedious, pretentious piece of filmmaking and I didn’t really enjoy the experience even though I can appreciate some of the artistry in display within it. The film features some impressive visuals, some capable cinematography (I liked the fast moving POV transportation shots in particular) and there quiet moments of beauty that shine through here and there. But this is an overindulgent piece of cinema that never seems sure of itself in tone or tenor. I get the feeling that filmmakers confidently THINK this is high art and grand cinema – it is audacious and ambitious – but I only see it as an half-landed attempt at that. Though there is some subtlety and nuance to be found, it holds some truly bad overacting within its ranks. And Brody’s performance is all over the map, doing a great job of showing us ACTING but telling us little to nothing about the motivations and thoughts of his enigmatic character. The score is bold and memorable and the set design and art direction are standouts but there are questionable filmmaking choices present that are gratuitous, superfluous, and showy. And the films ending features a truly odd shift in tone and focus that makes me generally question what I just watched and if the story was properly told. Above all, it’s too just too long. It was a marathon of a viewing session that I had to will my way through. I can see the reasons why this was nominated for Best Picture – it hits a lot of the Academy’s favorite notes and checks the appropriate boxes. And its lineage is an Oscar sweet spot. But knowing all that, I can still say…I did not enjoy it and I don’t think it deserves to win Best Picture (though it probably will).

    Rating: 61

    10. Wicked

    Wicked

    I knew only the slightest bit of this long established prequel story and now that I’ve seen it, I can confidently say this film is the most high-concept, universally accepted and admired piece of mentally and emotionally manipulative fan fiction I’ve ever seen. So many possible crumbs of storylines from The Wizard of Oz are retrofitted into this film in a way that feels cheap and hollow. And the convoluted politics feel so wedged into this to pull on some of those crumbs that it creates a confusing bit of pseudo-soap boxing. But I guess this has been around long enough that everyone just goes with it as okay? Wicked was boring and overly long. I didn’t enjoy it but I’m pretty sure I’m not the audience for it. I did enjoy a few parts of it (the jumbled…vocabularic, as it it were, parts of the script were the only small parts I consistently enjoyed). Though there is a part in the middle when the two main actresses connect that I found myself interested more than other parts of the film but I think that’s more a testament to the leads and their talents (though one of them is nothing more than a plot device rather than a fleshed out character). Outside of these two, though, it’s overacting central and one-dimensional character writing. The world building is amazing, though. And the set pieces and visuals are, at times, astounding, but so overly indulgent to where it all just becomes a nauseating sugar rush of eye candy. But above all, and I don’t really know how to explain this, the music is just…not good. I don’t know why this musical is so revered like it is. The songs are just not catchy to my ears. The melodies don’t work for me. The vocals and the singing are impressive, though. I can at least give it that.

    I think you can tell I didn’t like this film. I was pretty sure I wouldn’t but I went in with an open mind and still left disappointed. I get why it got the “box office nomination” for Best Picture but outside of that, I don’t think it’s worthy.

    Rating: 57

    So that’s it. That’s my take on the 10 nominees for this year. I enjoyed this year’s crop of films, for the most part. And I think it’s a fairly deserving crop – with a couple of exceptions. Overall, I see a trend toward more progressive, edgy Best Picture content and part of me is all for that but part of me wonders if it has veered into shock value territory.

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

    Best Picture – Should Win: Anora; Will Win: The Brutalist

    Best Director – Should Win: Sean Baker, Anora; Will Win: Brady Corbet, The Brutalist

    Best Actor – Should Win: Timothee Chalamet, A Complete Unknown; Will Win: Adrian Brody, The Brutalist

    Best Actress – Should Win: Mikey Madison, Anora; Will Win: Demi Moore, The Substance

    Best Supporting Actor – Should Win: Yura Borisov, Anora; Will Win: Guy Pearce, The Brutalist

    Best Supporting Actress – Should Win: Ariana Grande, Wicked; Will Win: Felicity Jones, The Brutalist

    Best Adapted Screenplay – Should Win: Jacques Audiard;, Emilia Perez; Will Win: Jacques Audiard;, Emilia Perez

    Best Original Screenplay – Should Win: Sean Baker, Anora; Will Win: Brady Corbet, Mona Fastvold, The Brutalist

    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.

    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.

  • Best Picture Nominee Viewings Recap 2024

    This marks the 27th 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 10th).

    Here are the 10 nominees for Best Picture at the 2024 Academy Awards, aka The Oscars, ranked in my order of preference, with my own personal take on and rating for each:

    1. American Fiction

    This was a thoroughly enjoyable film. It’s smart, funny, nuanced, and original. It was a welcomed cinematic experience for me. Superb scriptwriting, excellent acting, and a casual, lived-in cinematography are the hallmarks of this film. It’s not flawless (there are some storytelling clichés here and there, with a tendency toward contrivance) but it does a damn fine job of telling a wholly unique story in a wholly unique way (with a slight nod to, of all things, Wayne’s World). I have a long shot hunch this one might win best picture and if it does, I think that – with regard to its story and message – would be a perfectly on-the-nose ending.

    Rating: 92 (out of 100)

    2. Oppenheimer

    If there was an award for MOST Picture, then this film would definitely win it. It is loaded with big-name and recognizable, actors, big art direction and big cinematography, and a big swing at big ideas. Once again, a main character who is so enigmatic that we never truly learn anything about him. This film was directed with precision and care and reverence and acted with aplomb, nuance, and skill. Simply put, though, this was too long and too indulgent; too many characters and too many names to remember and too many plot lines (and I consider myself somewhat capable in those arenas) – and to be honest, too much gratuitous nudity – but if you’re willing to commit to it, it’s a solid, quality film. It will most likely win BEST Picture and I guess I’m fine with that.

    Rating: 87

    3. The Holdovers

    This is a wonderful, quiet, controlled film. Well-acted (for the most part, in spite of some early jitters), well written, and beautifully photographed. I enjoyed this film. It was nice combination of contrivance and unexpectedness, wrapped up in 1970 delicately crafted, film aesthetic nostalgia. Alexander Payne delivers a small, restrained, poignant, personal adventure that kept me engaged and entertained throughout. 

    Rating: 86

    4. Past Lives

    This is a slow, deliberate film. It felt like it could have been shorter by about 15 minutes or so but that filler is a collection of beautifully captured reflective cinematography and pensive pillow shots of Seoul and New York, providing a sumptuous cityscape backdrop to a very personal story for the main/only characters. This film is measured and mature as it lays out a simple story that never veers into cliché melodramatic nor played for sentimentality as its third act builds to incredibly strong finish. I enjoyed it, though it’s a slow, delicate, very particular piece of cinema that’s not for everyone. 

    Rating: 84

    5. The Zone of Interest

    This film is an interesting look at the banal day-to-day life from the Nazi perspective of Auschwitz. But make no mistake, it does not glorify – nor ask the viewer to sympathize with – the subject. It is actually quite boring. There is an air of dread as death and war take place all around, but always off screen. This makes what we actually see even more mundane – which is, I believe, the filmmakers’ intent. There are some curious stylistic choices and editing/shot framing techniques that upon first viewing seem to symbolize nothing more filmmaking flourishes. The score is impressively oppressive, I must say. My overall take: This film chose to dive into World War II Germany, and it chose a viewpoint that had not been shown in detail before. Though brave, that does not exactly make for a great movie. It is, instead, merely a good movie that has all the trappings of something greater, and thinks itself something more than it is. The final scene, however, and all the force and sadness across time that it implies, is noteworthy – and I feel that single scene is the reason for this film’s Best Picture nomination. 

    Rating: 78

    6. Poor Things

    What a strange film. It is equal parts inventive, unique, irreverent, unnerving, raunchy, overlong, sweet, and scary. It is a fantastical film (it brings to mind the work of Wes Anderson on a bad acid trip) and it operates with a hollowness about it, reminiscent of its main character. Emma Stone gives a wild, brave performance but there is something altogether icky in watching her story play out onscreen. The sex in this movie is astounding and borderline pornographic (never have I thought more about an intimacy coordinator on the set of a film while watching it). Grand ideas and fractured enlightenment are shoved into an impossible story (and the female empowerment and liberation elements feel somewhat askew considering the original novelist and the scriptwriter are both men). The cinematography, art direction, and costume design are all standouts and the screenplay is quite brave and witty. But make no mistake…this film made me feel like I needed to take a shower when it was complete. I was entertained by it but I honestly can’t say I enjoyed it.

    Rating: 76

    7. Maestro

    These are my notes, as I wrote them upon seeing this film, before it was ever nominated:

    – Hollow and systematically superficial 

    – Music is secondary, personal life focus;

    – Reductive from a relationship standpoint

    – Bernstein’ personal life seems just standard nowadays…wild and sultry then but run of the mill now.  Not worth a biopic.

    – Good cinematography. And the church performance was incredible to watch. Overacted. A clear actors’ showcase. 

    – Main character remains enigmatic. Why was there so little about his musical genius?

    – Carry Mulligan gets the Oscar (NOTE: I no longer think this)

    – Last 20 minutes were supremely impactful and emotional but ultimately a cheating payoff to what was sleight of hand of film.

    – Maestro is a decent swing at a great film but I think it misses. But still, it was well done. 

    Rating: 75

    8. Killers of the Flower Moon

    This is a long, listless, overindulgent film. I can’t really say I enjoyed it or was impressed but it but I can say that a LOT of effort went into it. To me, it just feels like a highbrow, Oscar-bait misfire from Martin Scorsese. There is just something off about it…it feels soulless and without an anchor (and I think that has a lot to do with choice to shift the perspective from the original novel; plus the fact this is a Native American story told from an outsider’s perspective). It relishes in details and lingers for far too long at each and every turn. I can’t help but feel like it could’ve been a full hour shorter than its 3 and half hour runtime. Regardless, the length of a film should not be how it is weighed but here we are… The film features some good acting and solid cinematography (and an ever-present, churning bass beat score) but the script is blunt, the story is choppy, there is little to care about or even root for, and I grew tired of staring at DiCaprio’s frown and ever-furrowed brow for such a long time. I understand its Best Picture nominee pedigree but I don’t think it has any business being in the conversation for the top prize. 

    74

    9. Anatomy of a Fall

    I started this movie too late on a Friday night when I was only half-interested in knocking out an Oscar nominee. I feel like I made the wrong choice in doing so. I did not enjoy this film. It’s well-made, for the most part, intentionally (I think) ambiguous, and the first half is engaging and somewhat imaginative in its storytelling. But the second half gets bogged down in overly scripted he said/she said/they said/the dog said particulars and courtroom procedurals. My two main takeaways from this half English/half French film are stellar, lived-in acting and a rekindling of my love for the French language in cinema. But those two do not a Best Picture nominee make. I’m honestly sort of puzzled as to how this Best Picture nomination came to pass (and after some internet research about some French pension reform politics and a possible Best Foreign Language film nomination snub, I think I know why). Maybe I should have watched it at some other time. 

    Rating: 73

    10. Barbie

    Barbie is a cute, smart movie that leans into being meta. It’s simultaneously warm and slick, providing a nice balance between style and heart. There’s some solid acting, wonderful set and costume design, and some comedic moments here and there. But ultimately, the whole affair is a bit too surface level masquerading as “deep” for my tastes. I enjoyed it and it was wildly popular for the mass public (and I think that’s why this Best Pic nomination happened) but I would have to categorize it simply as decent. 

    Rating: 71

    So that’s it. That’s my take on the 10 nominees for this year. I enjoyed this year’s crop of films. I debated not doing this adventure this year. To be honest, the thought of having to sit through TWO 3-hour-plus movies (Oppenheimer and Killers of the Flower Moon) had a lot to do with tempering my enthusiasm for diving into this once again. And the fact that I watched the first 8 of the nominees from my couch via streaming didn’t help matters – it has felt less and less like a go-to-theatre commitment in recent years to see all the nominees and that, to be honest, takes a lot of the fun and majesty out of it. Ultimately, though, I decided to commit to it once again and I’m glad I did. There was some solid entertainment across the spectrum of film here. Though the overall average quality across all 10 nominees seemed to be a tick higher than recent years but I can’t help but feel the Best Picture nominees should be better than this. Then again, maybe I’m being TOO critical.

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

    Best Picture – Should Win: American Fiction; Will Win: Oppenheimer

    Best Director – Should Win: Christopher Nolan, Oppenheimer; Will Win: Christopher Nolan, Oppenheimer

    Best Actor – Should Win: Paul Giamatti, The Holdovers; Will Win: Cillian Murphy, Oppenheimer

    Best Actress – Should Win: Emma Stone, Poor Things; Will Win: Lily Gladstone, Killers of the Flower Moon

    Best Supporting Actor – Should Win: Ryan Gosling, Barbie; Will Win: Robert Downey Jr., Oppenheimer

    Best Supporting Actress – Should Win: Da’Vine Joy Randolph, The Holdovers; Will Win: Emily Blunt, Oppenheimer

    Best Adapted Screenplay – Should Win: Cord Jefferson, American Fiction; Will Win: Christopher Nolan, Oppenheimer

    Best Original Screenplay – Should Win: Celine Song, Past Lives; Will Win: Bradley Cooper and Josh Singer, Maestro

    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.

    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.

  • Best Picture Nominee Viewings Recap 2020

    _______________________________________________

    The 9 nominees for Best Picture at the 2020 Academy Awards, aka The Oscars, ranked in order, with my own personal take on and rating for each:

    _______________________________________________
    I’ve never seen anything like this film. Parasite is a wild, schizophrenic, tour de force. It is equal parts unnerving, comical, horrific, anxiety-inducing, thrilling, devastating, and thought-provoking. You can’t even really classify what kind of film it is, as its tone shifts and darts frantically, leaving you both unsettled, confused, and exhilarated — sometimes all at once. This film is certainly not for everyone, and for various reasons. One of which is the fact that it’s from Korea and it’s subtitled. That is immediately a hard no for some people. And that very point is something the film’s director, Bong Joon Ho, addressed during his Golden Globes acceptance speech. But the film transcends language and delivers a witty, sharply crafted piece of cinema that tackles social inequality.
    The acting is superb and the direction and storytelling are done with such precision and confidence, it is quite impressive to witness. If you decide to give this film a chance, go in not knowing ANYTHING. That’s what I did and I was left damn near speechless. I had an amazingly unique cinematic experience, one that will stay with me for quite a while. That being said, I had a hard time trying to decide what to write for this review. I didn’t want to give much of anything away about it, and I certainly don’t want to oversell it. But I know for me, I thoroughly enjoyed this film. Simply put… it is wholly alive and it is stunning. And I hope it wins Best Picture.
    Rating: 96 (out of 100)
    _______________________________________________

    2. 1917
    This was a technically impressive live wire tightrope act of a film. The effect of “one continuous camera take” is a joy to watch as the camera moves and the actors string along what is essentially a “chase” movie – only there is no one chasing — it’s the main characters who are chasing a goal and racing against time. It sometimes has the feel of a riveting first person shooter video game.

    I thoroughly enjoyed this film. The cinematography, the art direction, the sound, direction… it’s all so incredibly well done. I think lost in all of the cinematic wizardry is some fine acting – George MacKay is deserving of an acting nomination, even if his role is, by nature, somewhat limited. Plus there are some truly human moments interspersed throughout the white-knuckle action and tense situations. It makes for an emotionally exhaustive sprint.
    The film is not perfect – it has some rough edges here and there. And it doesn’t really break any new ground with its well worn story and theme. Plus the British star cameos in role after role are a little jarring, as they somewhat take you out of the moment – but I can forgive that because each role is well delivered. This film reminds me in so many ways of a more sober, focused, and concise Saving Private Ryan. And it is a better film, in my opinion. I think this one has a good chance of taking home the big prize of Best Picture and if it does, I believe it to be deserving of it. I found it to be extremely impressive and I did enjoy it quite a bit and regardless of how it does in the Best Picture race, I think it will rack up a lot of the technical awards (cinematography, production design, sound, etc.). And I believe Sam Mendes could take home the Best Director statue.
    Rating: 93
    _______________________________________________

    3. Marriage Story
    A quiet, emotional, empathetic film that treads through sad material but carries a soft undercurrent of hope throughout. This film is about divorce and — full disclosure — I am less than 2 years removed from my own divorce being finalized. I wasn’t surprised that this film hit close to home for me.

    Marriage Story is an extremely well-built film. It’s crafted and composed, precise and how it portray its characters’ lives on the screen is impressively effortless in its execution. The acting is genuine and solid. Scarlett Johansson and Adam Driver give amazing performances (in my opinion, Driver should win Best Actor over Joaquin Phoenix’s Joker but he probably won’t; Johansson is deserving of a Best Actress award but she will probably lose to Renée Zellweger). And there are acting gems in the supporting roles, as well (Laura Dern was nominated and seems destined to win but Alan Alda is a standout to me).

    The direction is self-assured and quite impressive. This is Noah Baumbach’s best work of the films of his I’ve seen. I don’t normally match with his sensibilities but this one hooked me. I love how the camera puts you right there — observing omnipotently, offering you the chance to judge these characters and their actions for yourself. The story never picks a side (though it does slightly tilt at times) and it offers up poignant trinkets of how love can seemingly die yet still live on in touching remnants. I admire how the direction helps weave the emotion at times (a scene with ever-tightening close-ups comes to mind). The writing is crisp and efficient. The film is not perfect, but it’s very well done. Definitely deserving of its Best Picture nomination. There is sweetness and sadness to this film. It hit me in my gut. I can’t rightly say I enjoyed it all, but I was most impressed by the impact it left.
    Rating: 90

    _______________________________________________

    4. Jojo Rabbit
    This is a wholly unique and interesting film. Jojo Rabbit is comedy, drama, absurdism, a historical set piece, and anachronistic frivolity all rolled up into one. The film works from an inventive script that, for the most part, bounces along at a gleeful clip. It does suffer from bouts of slow pacing, however. And those moments stick out because of how against-the-grain they feel in a film like this. The subject matter is, by nature, grim… but this film seeks to subvert the time honored expectations that come with a WW2 movie set in Germany – and it does so with much comic aplomb. The acting is both overdone and pitch perfect, all at once. Sam Rockwell is a treat to watch onscreen in his role. Roman Griffin Davis is a preteen talent whose character requires him to be older than his years, and the young man inhabits it quite well.

    There are some wonderful cinematic compositions here and there… but there are also some frustratingly simplistic, almost sitcom-esque frames and scenes — it’s like two films smashed together at times and the result is not always a good one. The small, quiet, subtle moments (a tying of a shoe, a reading of papers) are the ones that ground this ambitious beast – they are what give the film its soul. The music choices are a standout. Sure, it’s not perfect but it’s funny and touching and entertaining and memorable, for sure. Whether you buy into the admittedly sanitized ludicrousness of this awful-truth-burying take on a horrific part of history will go a long way to determining your enjoyment of it. I recognized what it was trying to do, so I bought into it. And as such, I enjoyed it.
    Rating: 84
    _______________________________________________

    5. The Irishman
    This film felt like a popular band playing a reunion tour. The Irishman was good, but not great. It is very engaging until it starts to sink its teeth into the Jimmy Hoffa portion of the story. That is when it starts to become like that piece of steak that you just keep chewing and chewing, trying to wear it down to where you’re finally able to swallow it. That is to say, this is a looooong film. I can acknowledge the filmmakers’ statement here on time and outliving one’s possible consequences from a life of crime, but I still think it didn’t have to be THAT long to pull it off. There is a comparable, polished script at work here. And the acting is so very impressive. However, you never fully get used to questioning exactly how old Robert De Niro is as this was filmed — and that’s a problem. The technical de-aging wizardry distracts you from the proceedings.

    The Martin Scorsese direction seems… a bit pedestrian, in my humble opinion. It’s really the editing that does the heavy lifting. The musical soundtrack is sublime — it transports you to each of the time periods so well. I can say the same for the art direction, which feels lived-in and true to the eras on display. I liked this film, but I didn’t love it. I watched it on Dec. 6th knowing it would get a Best Picture nomination a month later. It may be deserving of that nomination, but to me, it feels more like a lifetime achievement award for Scorsese, Al Pacino, Joe Pesci, and De Niro combined
    Rating: 83

    _______________________________________________

    6. Ford v Ferrari
    This is a good film. It’s entertaining, comical, dramatic, and it moves at a pace with the speed of the cars in its name. There are a few too many cinematic cliches and plot contrivances for me to be able to call this a great film (one character is infuriatingly one-note, for example). Plus it sputters here and there but it’s still a finely tuned machine. We get to witness some spirited acting from Christian Bale. And Matt Damon does an admirable job, as well, though his role is not at revved up as Bale’s. And there is some solid acting alive in the supporting roles, as well (Tracy Letts has a memorable scene as Henry Ford II). The direction is sharp and refined, though it offers nothing incredible. The sound design and the cinematography are both extremely well done. The editing is the standout here — whipping from shot to shot, close up to close up, giving the viewer an exhilarating thrill of a film experience.

    I enjoyed Ford v Ferrari — it’s well-made and done so without a heavy Ford marketing hand (which I was curious as to if it would or not; as it turns out, I learned later that they somewhat disowned the film). It is probably the most popularly accessible of all the nominees. A really good movie with some filmic flourishes. It’s a love letter to cars and the American muscle that builds them. And I would say its greatest impact on me is that it made me feel somewhat jealous and wanting as I climbed into my aging 2005 Camry when the film was over.
    79

    _______________________________________________

    7. Once Upon a Time… in Hollywood
    What an odd film. It’s got enough style and panache to fill a dozen films – but to what end? It’s aimless and, dare I say, boring at times. And that’s not what I’ve come to expect from a Quentin Tarantino film. This one feels like a love letter to the late 60’s/early 70’s — specifically the Hollywood part of it — with the filmmakers just feeling giddy about getting to play dress up in the costumes, garb, and sets they grew up watching. It feels a bit like bad fan fiction but I can’t really say of what the person would be a fan — and it assumes the typical viewer knows a lot more information about the core subject matter here than is probably the case for anyone outside of California. In its defense, Once Upon a Time… is a collection of interesting scenes (and alternately some that make you question their worth and chosen length — the Playboy mansion scene comes to mind) that don’t necessarily tie together. But the filmmakers do their best to string it all along, with meandering scenes of driving cars, old Hollywood landmark gazing, eclectic soundtrack choices, crane shots that linger for too long… it just all feels so disjointed. It never fully coalesces, in my opinion.

    The film is a tone poem thats pulls from several cinematic influences such as the French New Wave, Asian arthouse films, and 1970’s low budget horror, to name a few. Tarantino seems to be testing how far he can push his “auteur” limits but it all just feels a bit pretentious. That being said, it still struct me as a good bit entertaining, in a way. I found myself intrigued by the prospect of the film eventually switching gears at some point. But it never really does. It revs and sputters but it stays stuck in low gear for far too long. And when it finally does shift (during its jaw-dropping climax), that scene feels so disjointed from the rest of the flick. Brad Pitt’s performance is a slow-burn treat, though his character is frustratingly problematic. I still hope and think he will win for Best Supporting Actor – he delivers the most memorable performance here (though Leonardo DiCaprio’s is impressive in its own right). And I honestly love Tarantino’s description of how he wanted to portray Sharon Tate as something more than just her infamous real life murder, but how he chooses to do so doesn’t exactly work, in my opinion. It’s almost as if her character is in a completely separate film. His treatment of the legendary Bruce Lee is also a bit questionable.

    It’s worth stating that I’ve mentioned the director’s name several times in this review and I don’t think that’s a good thing. One purpose of film as art is for us to get lost in the world it creates – in the story it tells. And yet, if I am constantly filtering it through my reaction to the filmmaker rather than the film, is that the mark of successful cinema? In my opinion, no. I don’t really know what I witnessed with this one. Maybe with time and further rumination, it will settle with me differently. But fresh off of it, I’ll just have to settle on calling it an overblown, complicated, frustratingly curious mess that still manages to somehow entertain me. Not great, not awful – just somewhere in between.
    Rating: 72

    _______________________________________________

    This was a perfectly fine, cute little film. I really can’t complain about it but I also can’t say anything is too exemplary about it either. It felt as if I was watching a play. There was an artifice to it that would not let me fully immerse myself in it. It kept everything at a distance for me. The acting was accomplished but it felt like… acting to me, rather than characters in their own world. It felt as though the characters knew they were performing — and that’s not a good thing. They did all seem to be having a good time, though. But I felt like I was left out of the fun. And the super fast pace of some of the dialog in certain scenes was dizzying at times.
    Little Women jumps around in the timeline often, which definitely made for an interesting approach to this well-worn story. However, because the actors all looked the same age no matter what period of time in their life we’re watching, it becomes rather confusing – and not in an ambiguous, avant-garde sort of way. The scenery is beautiful and the art direction is sublime. But again, it felt like a stage play, with sets and decorations. It was as if the girls’ club from the film had put on their grandest show. You get the sense that the filmmakers and actors were all having such a good time playing dress-up.
    I had never experienced any version of this story before so this was all new to me. The meta-ending made the whole affair feel a bit contrived when it was all said and done. I’m fairly certain the filmmakers were attempting to make a postmodern, perhaps even feminist point by doing that. But it felt like that approach just cheapens the old-fashioned, decidedly non-modern source material. I found this to be a perfectly decent movie, but perhaps not worthy of a Best Picture nomination. It was the last of the nominees that I watched and it made for a boring conclusion to this year’s crop of films.
    70
    _______________________________________________

    9. Joker
    First off, let me say this… I did not think this was a great film. Secondly, I feel that my attitude toward and opinion of the film has grown increasingly sour as I’ve watched it be adorned with critical praise and commercial success. I had hoped it wouldn’t receive a nomination but I went ahead and wrote this review before the nominations came out, having seen it a couple of months prior. My one-sentence description of it to a friend was “It’s a miserable, pretentious slog,” and I still stand by that statement. It’s not fun to watch. The film wades through very depressing subject matter and gives a harrowing glimpse inside mental illness (disturbing and eye-opening, but also dangerously irresponsible in its depiction) that nevertheless, feels manipulated and forced. There are some genuine moments of discomfort and anxiety that bore into you, though. Had these moments been delivered with some greater vision or pathos, I may have viewed it differently. But instead, it just feels exploitative and, by the very definition of the word, pornographic. And certain scenes just let the camera linger on the subject with no real purpose other than the hope that the viewer will project importance or meaning onto what they are witnessing (I’m looking at you, every single solo dancing scene…). Kevin Fallon says it best in this spot-on article from The Daily Beast: “It’s a film of scattered, provocatively-staged scenes… but there’s not a lick of coherence between them, or even an understanding of what point of view they’re being shown in.“

    I truly feel that had Joker just been a stand-alone story – rather than an iconic comic book villain origin tale – then I may have enjoyed it slightly more for what it is. But no, this film swings for high heights and offers up a criminal mastermind’s backstory with a woefully undeserving portrait. Its message is frustratingly muddled. Beyond my issues with the story, the acting is quite good (Joaquin Phoenix is deserving of a Best Actor trophy) and I was actually fairly impressed with the film’s use of an unreliable narrator for one of its subplots. But overall, the script and the direction are so overcooked and entirely too self-indulgent and hackneyed for me to be able lose myself in the film experience. It feels like the director (Todd Phillips, who comes from a comedy background) got his hands on some serious source material and he directs it as an unqualified, wannabe auteur who wants to be taken seriously but just doesn’t have the experience to pull it off (I felt the same way, in this respect, about Adam McKay’s The Big Short). I will restate: I do not think this is a great film. I don’t really even think it’s that good of a film. But I’m obviously in the minority on this one. I would hope that is does not win Best Picture but with its 11 total nominations and how the Academy’s voting process now works, I could totally see it walking away with the top prize. I guess I can at least say that it’s interesting that this film elicited such a strong reaction (albeit negative) out of me, so I guess you could say it was effective in some way.
    61

    _______________________________________________
    So that’s it. That’s my take on the 9 nominees for this year. I found there to be a nice mix of films this year, and I felt the quality across the board was a tick up compared to last year.

    One thing I’ve learned about myself in watching these films each year is that I become more and more critical and analytical with each passing year. I know what you’re thinking… “Andy can be even MORE critical and analytical??” So take all of these reviews with a grain of salt… you may completely disagree with me. But hey, that’s what art is all about.

    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 23rd 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, February 9th).

    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.

  • Best Picture Nominee Viewing Recap 2016

    Best Picture Nominee Viewing Recap 2016

    I’ve carried on this “Oscar Adventure” of seeing each Best Picture nominee before the Academy Awards telecast for every 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 it a point to see all the remaining ones before the Oscar telecast (which takes place Sunday, February 28th, 2016).

    For anyone who might be interested, here’s my list of the 8 Best Picture nominees in descending order of how much I liked them. 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 hope you enjoy it.

    (FYI – I’ve tried to avoid spoilers. Click the film’s title for more info on the film from imdb.com)

    1. Spotlight

    This film is clear-eyed and deliberate. It plays as somewhat of a love letter to hard hitting journalism. There is true pleasure derived from watching people do their jobs and do those jobs well. The villains of this story are largely off screen but the idea of them looms. This results in the film focusing almost solely on the protagonists, providing an idealistic view of a team of dedicated truth seekers. It could easily be heavy-handed in a chest-beating, moral high ground kind of way but instead it chooses a very sober, even-handed approach that draws the viewer in and let’s them experience the story in a matter-of-fact style. The acting is incredible – hardly a beat is missed across the entire ensemble. This film operates almost flawlessly, telling a focused story in a highly impactful manner. It is, simply put, a great piece of cinema. And I would say it has a chance of winning Best Picture.
    Rating: 96 (out of 100)

    2. Mad Max: Fury Road

    This is grandiose spectacle. The craziness pulses onscreen, breathing fire and inhaling smoke. It’s chaotic in how the story and characters unfurl with abandon but it’s a controlled chaos, as it’s quite clear the filmmakers are operating with a high level of confidence when it comes to how they want to tell the story. The film creates a world with its own feel and its own rules and then it proceeds to slam itself and its contents up against all edges of that world. The film is a bruising, greasy, dusty thrill ride, but it also has a strong modern message of empowerment that you don’t often see in action films like this. MM:FR somehow elevates itself to something more than the action blockbuster as which it presents itself to be – an incredible combination of film (technical quality) and movie (popular entertainment). It was a pure adrenaline-fueled joy to watch. I happened to see it opening weekend, months before Oscar nominations came out, and I was quite excited to see it hold its own in earning a Best Picture nomination. That being said, it has almost no chance of winning (although I would love to see George Miller win Best Director for bringing this ludicrously awesome vision to life).
    94

    3. The Revenant

    This film is visceral, dirty and raw. It takes you on a harrowing journey, one that is gripping and immersive. The filmmaking style allows you to feel and endure what the characters encounter – their experience bores into you. The incredible combination of tight close-ups and widescreen, sprawling vistas creates a strange, yet amazing combination of both expansive, grandiose cinema and personal, reflective art. On display is some truly great cinematography – I found my old college film study mentions of “pillow shots” returning to me – and the directorial decision to shoot using only natural light is the kind of filmmaking bravura that excites me to hear about. The acting is also great in the sense that the adversity and the weathering of the conditions and the emotions are truly felt – but somehow deeper characterization and personal connection is missed. The film remains just the slightest bit inaccessible somehow and the story’s conclusion holds a curiously odd sense of closure. I also take the slightest bit of umbrage with the fact that you have to do a bit of research to determine why the movie is actually named what it is – that seems a bit pretentious on the part of the filmmakers. I can run down a list of minor quibbles and that is all they are. But the quibbles seem to add up in my mind, and the collective weight is a bit heavy. That being said, The Revenant is an incredibly well made film and entertaining on top of that. It’s not my pick as the best of the nominees but I do predict that it will win the Best Picture award.
    94

    4. Bridge of Spies

    This is an incredible story told with restraint and quiet dignity. It is a cinematic reflection of the main character – dignified, calm and focused. The time period comes alive but not in an overt or showy way – it looks authentic and lived-in. There is impressive art direction on display, as well as refined cinematography. The acting is controlled and quite impressive – Mark Rylance is a standout with one of the softest yet powerful performances I’ve seen in recent years (I hope he wins Best Supporting Actor). And Tom Hanks plays a capable hero for whom you can’t help but root. Bridge of Spies is an entertaining, satisfying film, brimming with nostalgia and old school values (and old school paranoia, as well). It’s full of twists and turns, but also holds a surprising amount of heart. It’s once again, solid Spielberg cinema.
    89

    5. Room

    Room is, at its core, an emotional experience. It pulls and pushes the viewer to places you are glad to venture into but also dark realms you wish you’d never encountered. There are two halves to the story but there is a theme of captivity that runs throughout the entire whole. The film successfully transports you to the mind of a child as you quite clearly see the world through the character’s eyes. Incredible, powerful acting is on display. Brie Larson should win Best Actress for her character’s portrayal, but Jacob Tremblay is the standout here, as the child center of the film (how he missed out on an acting nomination truly puzzles me). I admired how the film doesn’t wrap up all its plot points – it seems to just let them linger and fade, like a brief flash of a memory in a child’s mind. Room is deeply nuanced and layered, offering no tidy, clean-cut sense of peace. Moreover, it is a quiet examination of the grays of the world…the shadows. It is, quite simply, a very good film.
    88

    6. The Martian

    This is the film I wanted Gravity to be. It is an extremely well-made, precise, polished piece of cinema – both slick and grimy at the same time. Watching it, the joy for me comes in the minutiae of the science and the problem solving required by the main character to survive. However, the film wanes when it brings in somewhat cliche high drama circumstances and/or unrealistic plot contrivances to up the ante for tension and suspense. With little effort, it goes from a small big film to a BIG big film and something gets lost in that transition. Still, this is a well-made film. One standout technical note that I discovered after watching the film: they filmed the actors’ spacesuits without reflective visors and then digitally added the reflections in post production. The Martian is very entertaining and at times, quite full of a breathing soul – but it does become a bit more hollow and wooden as it goes along. There are engaging, realistic characters (and refreshingly enough, no true antagonist) even though the only true character traits in the entire film is “survive” and “rescue.” This is a good film that I thoroughly enjoyed. It is a peripheral Best Picture nominee, however.
    83

    7. Brooklyn

    The Ireland and America of the 1950’s is on full, lush display as history is captured pristine. This is a small story – it feels almost too small at times. There is a TV-movie feel to it that bubbles as I think back to it. And it’s quite frustrating in the manner and style with which it unfurls its plot and drama. Contrived obstacles are seemingly laid out before the main characters with the sole purpose to create tension in order to tell the story. But it feels like the sole purpose of the film is to showcase the filmmakers’ love of the time period. The art direction and costumes stand out in a polished, shiny style that almost detracts from the story in the quest for nostalgic authenticity. Brooklyn is very well-acted and it is often poignant; and it holds surprising bits of comedy within its folds. It is a solid, good film.
    77

    8. The Big Short

    This is a “big idea” movie that deals with what is essentially a very boring subject. The film tries to spice things up with kinetic bravura and interesting narrative tactics but it remains a somewhat plodding affair as you just wait for what ends up being a whimper of a payoff. There is a sanctimonious feel to this film – the filmmakers scoffing at Wall Street’s greed and ignorance; and the Academy of Motion Picture Arts and Sciences scoffing right alongside them by nominating it for Best Picture. It has big name actors and some quality acting on display; though I continue to have a problem with the fact that Christian Bale’s scenes feel like they are from a completely different film, produced by a completely different crew – both in style and cinematography. The film feels thin and soulless, with its attempts at emotional depth and pathos feeling forced and heavy handed. It excels at depicting the hubris inherent in the story, but in my opinion, falters when trying to set up its compromised characters as the moral judges of this hubris. To me, knowing the director of this film (Adam McKay of Anchorman fame and one who already tackled this source material in a much simpler, yet oddly out-of-place end credit sequence for his movie, The Other Guys), the end result on screen comes across as a comedian trying his hand at big drama for the first time. And in my opinion, at least, it doesn’t always work. Having said that, this film apparently has an outside chance of winning the Best Picture prize. So…what do I know?
    68

    So that’s it. That’s my take on the 8 nominees. 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.

    As always, I’d like to thank my wife and two daughters for putting up with this annual tradition of mine.