“Opinions are like assholes, everybody’s got one,” Dirty Harry.
I love the Oscars!
Of course the ceremony itself is gunk. A bloated, overlong, celebration of opulence and grander that has not progressed in style since the Hollywood Golden age. And it’s always entertaining to see world class actors and actresses delivering lines with all the charisma of a block of cement as they present the award for best soundmixer informing us that “they are the people who bring a voice to the images on our screen.”
And while many keyboard experts will cynically analyse the Oscars choices, treating the process as if the “Academy” is a hive mind collective, I like to embrace the Oscars for what they offer.
For one thing the Oscars act as a useful review of the year in film, the list of winners and nominations leaving us with a record of what was being celebrated at the time (so until the end of time, Film fans can look back and go “Shakepeare in Love? Really?”
But more importantly the Oscars encourage studios to put out movies with those little Gold statues in mind, with the result being always being a season of interesting, groundbreaking films to finish out the year. Cynics use terms like “Oscar bait” or “pandering to the academy” but if it provides a platform for enduring performances and well made films I’ll gladly accept those motivations. Anything that allows a film like Moonlight or Three Billboards to break out from the arthouse and into the wider consciousness and get at least a foothold in the multiplexes, to me is worthwhile.
Best Picture: The Shape of Water
Disclaimer: I haven’t had the chance to see Call me by my Name as it came and went in UK cinemas the blink of an eye and isn’t out on DVD until the day after the Oscars.
I wore an ridiculously goofy smile on my face all the way through this movie so enchanted was I by Shape of Water. The film totally had it’s way with me. I embraced every reaction it tried to manipulate me into feeling. I fell in love with the whimsical character of Elisa, was thrilled and heartbroken in the course of her struggle to be with the imprisoned fish creature. While watching I wanted nothing more than happiness for her, the creature and Elisa’s brother, so gripped by their plight and fortunes. Likewise I hated the sneering, evil villain Strickland, a cold, empty loveless bigot played so convincingly by Michael Shannon.
I was overjoyed with the sheer gorgeousness of the film, (more of that later) revelling in a vintage 60’s tone but with a dreamlike fairytale sensibility to it. Combined with a stirring, romantic score I was just in awe from start to finish.
There are more timely, relevant movies with more depth on this list of nominations, but for it’s sheer ability to captivate me and transport me into another frankly better world for a couple of hours Shape of Water won my heart. I didn’t mind that it was raining when I left the theatre, it actually felt quite beautiful.
Just a quick rundown on the others in this category. I loved Dunkirk, Three billboards and Ladybird. Get out I liked a lot and thought was one of the cleverest movies of the year. Darkest Hour I thought was more interesting for it’s history than a film I loved (the factual liberties taken with the scene on the tube took me out of the film somewhat), similar with The Post that was timely but was almost drama play like in it’s execution and had little creativity. Phantom Thread was like technical standup in an MMA fight, I could appreciate how skillful it is but couldn’t hide that it bored the fuck out of me (also if you go on a date with a guy and he tells you he’s sewn his dead mother’s hair into his jacket, RUN!!!!)
What the hell? : So many great films not on this list but I’ll highlight Logan and I, Tonya as ones sadly overlooked.
Best Director: Christopher Nolan (Dunkirk)
Incredibly ambitious and epic in scale, Dunkirk is an outstanding achievement that I would love to see Christopher Nolan rewarded with an Oscar. Facing down the diverse difficulties of shooting on land, on the sea and in the sky Nolan managed to tie these three elements together into a compelling narrative and produce a film of scenic, breathtaking beauty but with the horror, chaos and drama of a battlefield.
The choices Nolan made in Dunkirk was masterful. He went for an understated and authentic presentation of the battles, the Germans are menacingly rarely seen except for the raiding Luftwaffe. Instead the spectacle is reserved for the scale of the evacuation effort, with long tracking shots conveying the massive numbers of troops awaiting rescue and the inspiring shots of the ragtag fleet of boats sailing courageously to their rescue.
By choosing to sacrifice dialogue and exposition Nolan has brought the plight of the everyday infantry to the screen like never before, forcing the viewer to experience their desperation and helplessness. You feel the fear on the cold, windswept beach, the bravery and purpose of those sailing and flying to the rescue and the cowardice brought on by the sheer desire to survive.
What the Hell?: For what Patty Jenkins did in elevating Wonder Woman to a credible, emotional movie she deserved to be on this list.
Best Actor: Gary Oldman (Darkest Hour)
While the performances in the lead actor category are all worthy I find this to be the most uninspiring category this year. Daniel Day Lewis was impressively haunting and unsettling in Phantom Thread, but I still found that film tedious and annoying to sit through so baulk at rewarding it in any way.
Darkest Hour was a film that I found more interesting than engaging as a viewing experience, but what elevates it into the enjoyable was Gary Oldman as Winston Churchill. Oldman throws himself into the rousing speeches and calls to arms which had me in goosebumps as he delivered the famous “We shall fight them on the beachs/we shall never surrender” speech to parliament (Churchill could cut a promo). This public showcase moment is actually outdone earlier during argument against peace talks with Hitler when he yells”You cannot reason with a tiger, when your head is in it’s mouth,” as Churchill explodes with anger and frustration.
Oldman is unrecognisable not just because of the layers of the latex mask, but also his doddering manner and in conveying a man prone to rambling and failing to articulate himself. But while never throwing off the age of the role, he’s able to exhume the fighting spirit and determination of a polarising figure in British history.
In short, the shouty man wins.
What the Hell? What about?: Ok we can kinda guess why and it probably is best all round but James Franco in Disaster Artist would have been an interesting inclusion.
Best Actress: Margot Robbie (I, Tonya)
There is a scene in I Tonya where Robbie is facing the screen and nervously applying her harsh makeup before competition. Her face as stern as a mannequin and unrecognisable as the Tonya we’ve got to know for the past two hours she strains to force a smile and you can see her face break into tearful distress, crumbling to nerves and frustration at her failure to become the princess the skating world demands she be if her talent is to be recognised.
It encapsulates everything about Robbie’s performance, as throughout the film she expresses a gauntlet of emotions. One minute she’s exhibiting her toughness and rebellious nature as she battles her family, the media and the skating world for recognition and seconds later she wilting against those same forces, suddenly fragile and liable to break at any moment.
I found her performance captivating , charismatic and entertaining. Something that I could say about all the nominees. In fact all all the nominees lists, this is the one I find the most impressive and when Meryl Streep is probably the one I’d place at the bottom of the five, that speaks loads for the quality on display.
What the hell? What about? : Annette Benning as a faded Hollywood star in Filmstars don’t die in Liverpool was heartbreaking while breathtakingly oozing with charm
Best Supporting Actor: William Defoe (The Florida Project)
With a lineup of performances for the supporting actors that I find infinitely more interesting than those enjoying the lead category spot it’s to the only nomination for The Florida Project I find myself siding with. William Defoe manages to take a man in the mundane job of a low rent hotel manager and produce a charismatic working class everyman.
You can feel the frustration of Defoe as he’s trapped by the gripes and dramas of his guests and residents, which repeatedly get in the way of his daily duties. But you can also sense in him how he cares about the plight of the mother and daughter family he’s constantly finding himself involved in. As he repeatedly confronts and admonishes the mother, you get the undercurrent that he’s acting beyond his job as a manager and feels a need to help and protect them.
Never is this more evident than when he confronts and ejects a man who he catches stalking the hotel kids and he suspects of being a paedophile. As the film goes on and events spiral out of control for the family you can tell he’s trying to help, it’s etched on his face that he may have to intervene with the authorities at some point and the prospect fills him with sadness.
It’s a film stealing performance in a film that has deserved better recognition this awards season.
What the Hell? What about? Patrick Stewart’s broken down Charles Xavier was worthy of more love.
Best Supporting Actress: Allison Janney (I, Tonya)
Marvel studios wish they had a villain as loathsome as Lavona Fay Golden (even the name is awesome) the nightmare pushy mother of Tonya Harding. It’s hard to imagine that Allison Janney is the same actress that played lovely CJ Cregg in the West Wing (yeah I know it’s called acting), as she is an unrelenting shower of vile her face forever etched with the scowl of a bulldog licking piss off a stinging nettle.
She’s absolutely hateful and yet you almost crave her appearances in the film because you know there is going to be some memorable, screen stealing moment from her whether it’s a cruel jibe or a line that is as scornful as it is funny. Through all the unappealing nature of the character Janney manages to instil in her performance just a hint of humanity behind the facade of the monster, subtle looks where she shows her protectiveness and disappointment at her daughters decline in fortunes. But she still makes her so Goddamn unlikable, fooling maybe even herself into thinking that the mistreatment towards her daughter is an exercise in tough love and for her greater good.
Best Original Screenplay: Jordan Peele (Get Out)
This was a close one as I really loved the dialogue in the bittersweet comedy “The Big Sick,” (especially the awkward scene where Kumail Nanjiani briefly discusses 9/11 with his girlfriend’s father). But rather unfairly comedies always seemed to feel lightweight next to their more dramatic awards rivals and sadly I’m falling for that prejudice because it’s Get Out that would take my vote.
Get Out (which lets face it as a film on race, with a black writer and director and black lead actor which also happens to be great and an audience favourite, the academy voters must be sighing with relief at it’s existence this year) works so well as a satire on racism, especially the overcompensation of well meaning political correctness with Daniel Kaluuya meeting the family of his white girlfriend who seem just a little too eager to show their tolerant attitudes. It’s also a fine, 21st century horror movie, building the tension and unease subtly as Daniel Kaluuya realises that something is not right in the seemingly friendly community with the bizarrely zombie like black staff and the mother of his girlfriend creepily trying to push him to try her new age hypnotherapy.
There is so much going on in Get Out that it rewards repeat viewings. There are subtle clues as to what is going that could be missed first time around, likewise the girlfriend Rose’s role in the relationship constantly seems to be making an issue of Kaluuya’s race such as the early altercation with a police officer which she seems to exacerbate while Kaluuya would rather just ride out the situation.
It’s an intelligent, and socially timely script that succeeds in subverting many expected horror tropes and it totally blindsided me with the direction the film took in the ending (SPOILERS) as I was expecting a downbeat, twist ending with Kaluuya framed for the massacre of a white family but goes against horror convention with the victims instead reacting with a “got this” attitude and coming out on top.
Get Out’s a great film that I’ve enjoyed more each time I see it and deserves it’s inclusion in so many nominations.
Best Adapted Screenplay: Scott Neustadter, Michael H Weber (The Disaster Artist)
Tin foil hat time: isn’t it funny how before the LA times article on accusations against James Franco The Disaster Artist was up for awards across the board, but now the only nomination it’s received is one where Franco won’t be in danger of getting up to receive it?
Anyway contrary to the opinionated assumptive myth, as someone who has never seen The Room I can say it is possible to enjoy The Disaster Artist without seeing or knowing the backstory to Tommy Wiseau’s disastrous movie. Disaster Artist weaves that tale into a narrative which is a weirdly charming underdog story that at times is awkwardly cringe worthy and infuriating at Tommy’s lack of self awareness at his lack of talent but is also hysterical for that same reason.
Genuinely funny dialogue is the hallmark of this great script that manages to make you root and feel affection for a weird and occasionally unlikable person.
Best Animated Feature Film: Coco
Disclaimer: I haven’t seen Ferdinand or The Breadwinner.
I really want to highlight the work that went into the splendid and original “Loving Vincent.” Individually handpainting every single film cell in the style of Van Gough was an incredible concept and the result was a mesmerising, surreal and downright trippy experience on the big screen.
But I still have to go with Coco as a stronger film. The story was so delightful, tugging on those heartstrings in the way that Pixar so damn good at and never letting go until that pesky movie theatre dust had got into your eyes and done it’s work. Joyfully upbeat and emotional and with truly surprising twists along the way the film was also absolutely a festival of colour and glory for the senses.
The scene where Miguel first enters the world of the dead and looks up at the city which is a rainbow metropolis of shimming glitter and glow is one of the most beautiful scenes I’ve seen for a long time. With scenes as bright and vibrant as the heart and love for life of Miguel, this is just an emotional feel good movie and a much needed stirring family movie.
What the hell? What about? If fucking Boss Baby gets a nod then so should Lego Batman.
Best Cinematography: Dan Lausten (The Shape of Water)
This was another tough one as I was desperate to pay homage to the beauty that was Blade Runner 2049. But I have to go with Shape of Water, with it’s beautiful green/blue tint that runs with an aquatic theme throughout the film. The highlight for me was the fantastical and surreal moment where Elisa floods her bathroom to create a pool for the fish creature in just a stunning, uplifting scene as are all the romantic underwater embraces between the two.
Delightful and dreamy, this film dazzled my senses.
What the Hell? What about? For the incredible lush with colour The Florida Project to be overlooked is a tragedy.
Suicide Squad Award for Best Makeup and Hairstyling: Arjen Tuiten (Wonder)
Disclaimer: I have not seen Victoria and Abdul
There was one use of make up in Wonder and they had to get it right for the whole film to work. Managing to create a face for Auggie that expressed his condition, the scars and wear of his many surgeries which such natural realism but also still allowed actor Jacob Trembley to express his innocence and wonderful nature was a successful walk on a careful balancing act.
This film had loads of movie theatre dust when I saw it.
What the hell? What about? For sheer work involved Guardians of the Galaxy 2 should be recognised here.
Best Original Score: Hans Zimmer (Dunkirk)
This was a tough one as I was really loved the uplifting score for Shape of Water.
However for a film where music really played an integral role in the narrative I couldn’t think of any more important than found in Dunkirk. The music really became a character, a constant tick tock representing the time running out for the soldiers attempting to escape the beaches. It frantically built up the tension, raising to an almost unbearable pace when the danger was highest and the prospects most desperate.
Sometimes you don’t even realise it’s there, but one clever moment in the final seconds of the film will make you aware of how important it’s prescence has been.
What the hell? What about? Electronic violin theme hello? I’d put the stirring Wonder Woman score over Last Jedi.
Best Original Song: “This is Me” (The Greatest Showman)
Disclaimer: While I’ve heard all the songs I have only seen Coco and The Greatest Showman to appreciate those entries in context.
For three months it seemed like every film I saw played the trailer for Greatest Showman, along with that the catchy tune that begins with that wistful line “I’m not a stranger to the dark.” So by the time I got to see the actual film and we reach scene where the forlorn circus acts look all dejected and the first few bars of that song ring out it was akin to seeing Frozen for the the first time and hearing Let it Go begin to play.
And that’s what this song is, it’s essentially Let it Go for grown ups. A gentle melody of melancholic self reflection as the circus perfomers spurned by Barnum look on their lot in life. Defiantly they begin to march with pride and gradually the tune builds with a rousing call to arms until the song finally exploding in a crescendo of triumph as the circus trope stand tall and as one.
The result is goosebumps for anyone with ears and a heart and yells of “yeah you go bearded lady!”
Best Visual Effects: Kong:Skull Island
I’m not a fan of cgi generally, more for how it’s misused by film makers who lack the skill or restraint to use it properly. Kong: Skull Island is an example of when it can be used effectively to it’s potential.
Skull Island creates the giant monsters with a sense of awe and is measured in their use. There’s a moderation in the action scenes that allows you to take in every move of the giant battles that allows you to follow the conflict, something that Michael Bay would do well to take notice of instead of throwing 50,000 things at the screen at a 110mph. Even when there is a squadron of helicopters, spinning and crashing out of control from the onslaught of Kong it’s possible to keep the track of all the human particpants.
Skull Island presents a completely immersive world, alien and terrifying but with gentle scenes (such as the giant ox creature) it makes the jungle a lifelike, plausible world. Pity they couldn’t paint some life over the performances of Tom Hiddleston and Brie Larson.
So that is where all my Oscar votes would go. The ceremony takes place on Sunday March 4th. So join us here on Halfguarded….we won’t actually be doing anything live as I’ll be in bed and Coughlin doesn’t give a shit about the Oscars, but it would be nice if you checked out some of the fine content we provide anyway.
See ya
Dazza
(Mike: I might do something live after all, you know it all Brit!)
