The 91st Academy Awards are upon us, and that means it’s time to pontificate on what the February 24th telecast will bring to the winner’s circle.
There are a few snubs that still grind my gears, like Barry Jenkins “If Beale Street Could Talk” for Best Picture or “Won’t You Be My Neighbor” for Best Documentary, but I suppose in an effort to not become completely irrelevant and hoping to stop their four-year ratings decline the Academy Awards are leaning towards staying cool with the kids, so to speak (though how can you get much cooler than Mister Rogers?).
Let’s take a moment to look at the crème de la crème of the mighty Academy Awards. I will keep the nominees for “Best Picture” in alphabetical order as to not hurt the feelings of each individual motion picture:
“Black Panther”
A wonderfully entertaining and well visualized movie that absolutely flummoxes me as to why it’s nominated for “Best Picture.” The reasoning might be a double whammy: the Academy Awards trying to be hip with the “under 60” crowd and this box office behemoth is a great mainstream choice, mixed with a dash of trying too hard to not be completely tone-deaf with the wonderful diversity finally ascending in La La Land.
“BlacKkKlansman”
Now we’re talking! Director Spike Lee finally gets his first “Best Director” nod, and it’s completely deserved. An emotionally affecting film that keeps its comedy fresh and its moral compass strong. The “Birth of a Nation” sequence alone puts this towards the top of my list. It’s between this, “Roma,” and “A Star Is Born” for the win, and likewise between Spike Lee and Alfonso Cuarón to take home the “Best Director” hardware.
“Bohemian Rhapsody”
An above average biopic that is lead by the deservedly nominated Rami Malek and the legendary rock music of Queen, this is the second movie on this list that should not be here.
The movie was nominated for “Best Picture” and “Best Actor,” but didn’t get nods for any of the other top-tier categories to save for “Best Editing,” which was a point of contention for me. A lot of the editing in certain scenes was subpar. The Live Aid sequence was spectacular, but they had a pretty amazing road map to follow in the actual Live Aid footage to match it with.
“The Favourite”
It’s really good to see John Schneider (“The Dukes of Hazzard,” “Smallville”) on the big screen again in this drama about family, loss and how God…
Wait. Sorry, wrong “Favorite.”
Yorgos Mavropsaridis’ “The Favourite” is the period piece the Oscars always demand, and if “Roma” and “BlacKkKlansman” split the vote it may have a chance, but I don’t think so.
I will give this film credit though for not only being quite entertaining and exceptionally well made by the artists involved, but it also allows Emma Stone to stretch her range to new and refreshing heights. It deserves a look, if not an Oscar vote.
“Green Book”
Adam Graham of the Detroit News said it best when he declared “This is an expertly-acted, perfectly telegraphed message movie that knows the buttons it’s pushing, and pushes them all, right on cue.” Mr. Graham meant it as a compliment, but the more cynical know that the film’s wonderful message of kindness and acceptance also fits right into the agenda and narrative of the Academy Awards.
Cynical or not, the film features the exceptional work of Viggo Mortensen and Mahershala Ali, who are both nominated for their respective roles. That’s as good a reason as any to take a look at this one.
“Roma”
I refused to watch this film until I could view it in in the glorious 70mm as it was filmed and intended. Unfortunately, the film still hasn’t appeared in my region of California. Sadly, I haven’t had a chance to see it in San Francisco the last few weeks, therefore I am limited to watching it on Netflix at home.
If it wasn’t for the distribution model, this would probably be out front in the Oscar race to win. I’m just not sure the old Hollywood guard is ready to give the first Netflix Original to be nominated for “Best Picture” a gold statue. If any streaming service had the political might to outgun the traditional studios in Oscar PR though, it is Netflix.
“A Star Is Born”
Between “Bohemian Rhapsody” and “A Star Is Born,” this is the rock-flick that deserves to be on this list. With masterful performances by Lady Gaga, Bradley Cooper, and Sam Elliott (who I would be shocked if he doesn’t win for “Best Supporting Actor”), if the academy doesn’t award “BlacKkKlansman” or “Roma,” this will be the popular choice to pick.
In fact, on any normal year this would be my immediate go to based on a scientific formula I created for predicting “Best Picture:” If the movie in question is about Hollywood, cinema or music, it wins!
Of course, it suffers from the annual Oscar disease of nominating a movie in almost every category except the director, snuffing Bradley Cooper from a much deserved nod. I guess the film directed itself.
“Vice”
A respectable motion picture led by the Satan-inspired performance (Bale’s words, not mine) of Christian Bale as former Vice president Dick Cheney (who ironically both share the same birthday), The two are practically indistinguishable from each other when you look at them side-by-side. If we were back in the good ‘ol days of just five nominees though, this wouldn’t make the list.
Call me bias, but I lived through the reign of the former V.P. and don’t wish to really celebrate his history so soon. I wouldn’t be surprised if Bale walks with another Oscar, though.
Anything can happen in the next few weeks, but as it stands now here is the line:
Should win: “BlacKkKlansman”
Will win: “A Star Is Born”
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