My Review of the 93rd Academy Awards

Well, I am surely not the only person to use this pun to describe last night’s Academy Awards, but for a ceremony that primarily took place at Los Angeles Union Station, it certainly went off the rails at the end. This ceremony was never going to be perfect or look the way we’ve grown accustomed to as an audience in light of the COVID-19 pandemic, but I could never have imagined just how crazy this year’s Oscars, which was for the most part fairly uneventful throughout, would end up. The show still had some great moments, hilarious parts, and inspirational speeches, albeit along with some very miscalculated bits—here’s my review of the 93rd Academy Awards.

It’s probably necessary to get to the show’s twist ending first. At every Oscars since 1948 (with the 1971 ceremony being the lone deviation), the Best Picture award has been announced last. Clearly, if you dig into Oscars history, you’ll find that most early ceremonies didn’t utilize this setup, but nearly every film fan, for the most part, has grown up watching the biggest award in world cinema deservedly announced last. This year, things got weird when Rita Moreno stepped onto the stage and started reading off nominees for Best Picture—I was quite confused, wondering if I had somehow blacked out for the two lead acting categories, rewinding my TV a bit to make sure. The nominees also looked a bit stunned by the reorganization of the show’s homestretch. At that point, it felt like the Oscars producers (which this year included previous Best Director winner Steven Soderbergh) mixed things up to deliberately set up a massive emotional climax for the night—Chadwick Boseman becoming the third actor to win a posthumous acting award for his performance in Ma Rainey’s Black Bottom. My goodness, was that a mistake. The Academy famously doesn’t know the results of any category until the envelopes are opened during the live broadcast, as its longtime accounting firm, PriceWaterhouseCoopers, tabulates the ballots and keeps the results entirely confidential—that couldn’t have been clearer in light of how this show ended up.

After Renée Zellweger presented the Best Actress award to Nomadland’s Frances McDormand (a win which made her only the second woman to win three career Best Actress Oscars, behind only Katharine Hepburn who won four) last year’s Best Actor winner Joaquin Phoenix strutted out and, in trademark fashion, stumbled through an intro about acting. Eventually, after reading the nominees, Phoenix opened the envelope and the rest is history. Instead of Boseman winning the Oscar, the award went to legendary actor Anthony Hopkins for his performance in The Father, who, at the age of 83, became the oldest actor to win an Oscar. However, Anthony Hopkins didn’t show up this year, either in Los Angeles or at any satellite location (including London). Via Phoenix, the Academy accepted the award on Hopkins’s behalf, and then the camera cut back to in-house DJ Questlove, who thanked everyone for watching and ended the show. It was mind-boggling—truly the epitome of the term anticlimactic.

This year, I personally (and I recognize that it’s all subjective) had Riz Ahmed, Anthony Hopkins, and Steven Yeun ahead of Chadwick Boseman on my Best Actor rankings. Ahmed gave such a powerful performance in my favorite movie of the year (Sound of Metal), Hopkins delivered arguably the best performance of his career in The Father, behind only his Oscar-winning role in Silence of the Lambs, and Yeun was beautifully poignant in the wonderful Minari—although Boseman was certainly stunning in Ma Rainey’s Black Bottom, I personally felt other performers in far-better movies were more deserving of being declared the year’s best actor. With that said, I was certainly on board and excited for Boseman to win this year—in his final film performance, while in the final stages of his cancer, he gave an impassioned portrayal of Levee Green, and the Oscar here would have felt like a fitting tribute to an incredibly talented actor who impacted the world in so many incredible ways through films like Black Panther and whose life was tragically cut short by cancer. The betting odds heavily favored Boseman at -1667 and other than the BAFTA (which went to Hopkins), Boseman swept the other major pre-Oscars awards. The world certainly expected to see Boseman winning this award.

If you ventured to Twitter after the show, it was full of Oscars slander for Boseman’s surprise loss. And understandably so, as literally everything pointed to Boseman’s posthumous win. The Academy built the entire close of the show around the possibility for a heartwarming emotional high point based on an expected Boseman victory, and instead, we ended the show on an award without its winner anywhere to be found to deliver an acceptance speech. Steven Soderbergh and the producers gambled big on that setup…and ultimately, they lost big.

Aside from the Oscars’ twist ending, there were a number of other noteworthy moments from this year’s ceremony. First, last night was a major step in the right direction for the Academy as it works to overcome the infamous #OscarsSoWhite controversy a few years ago and be more inclusive. This year’s class of nominees was the most diverse in Oscars history, and a number of historic moments followed. Nomadland’s Chloé Zhao became only the second woman (and first woman of color) to win the coveted Best Director award. Both the Supporting Actor and Supporting Actress winners (Daniel Kaluuya and Youn Yuh-jung, respectively) were people of color. Emerald Fennell won the Oscar for Best Original Screenplay (the first woman to do so since Diablo Cody won for Juno in 2008). And for Ma Rainey’s Black Bottom, Mia Neal and Jamika Wilson became the first black women to ever win for Makeup and Hairstyling. It was a great night for inclusion and diversity.

Additionally, per usual, there were some great speeches, ranging from inspirational to hilarious. In particular, I enjoyed watching Daniel Kaluuya, who won Best Supporting Actor for my favorite acting performance of the year in Judas and the Black Messiah, deliver a wonderful tribute to Fred Hampton and the Black Panther Party. (He also referenced his parents having sex, which turned out to be particularly hysterical as the camera then cut to a live shot of his mother, who was watching from the British Film Institute in London.) I was also nearly brought to tears listening to Thomas Vinterberg, who won Best International Film for his brilliant Another Round, dedicate the Oscar to his late daughter, Ida, who was supposed to appear in the film but died in a tragic traffic accident just days into production. On the lighter side, it was a joy to watch Youn Yuh-jung give her acceptance speech after winning Best Supporting Actress for her scene-stealing performance in Minari. Youn was just as adorably funny in real life as she was in Minari, especially as she gushed over her presenter, Brad Pitt.

Lastly, I couldn’t do a proper review of the show last night without mentioning the funniest moment of the evening. During the middle of the show, there was a musical bit where actor/comedian Lil Rel Howery picked actors in the audience to listen to past movie songs (played by Questlove) and guess whether those songs won an Oscar for Best Original Song, were just nominated in the category, or none of the above. Truthfully, I didn’t enjoy this bit almost in its entirety—it was a bit choppy and didn’t land the way the producers probably thought it would. However, this “game” provided us with the night’s most gif-worthy moment—acting legend Glenn Close dancing to “Da Butt,” the song featured in Spike Lee’s 1988 film School Daze. I sure didn’t see that one coming, but it was very, very funny!

 

The 93rd Oscars – Best Actress

In today’s post, I will review the Best Actress category, home of the most wide-open race at this year’s Academy Awards. Who will win is anybody’s guess, so let’s dive in for an analysis of the category.

The Nominees

Viola Davis (Ma Rainey’s Black Bottom)

Based on August Wilson’s 1982 play of the same name, Ma Rainey’s Black Bottom follows the real-life Ma Rainey (played by Viola Davis), a highly influential African-American blues singer in the 1920s. The film focuses on a tumultuous studio recording session with Ma Rainey and her band in Chicago. Viola Davis is one of the best and most talented actors currently working, and with her turn this year as Ma Rainey, she further demonstrates her impressive range, taking on a distinct physical transformation to play the brash blues legend.  Over the course of the film, it becomes apparent Ma Rainey’s generally difficult demeanor with respect to her producers is shaped by her experience as an African-American woman in a world controlled by white men, and Davis depicts the character’s tough-nut-to-crack temperament with strident passion and exquisite flair.

Andra Day (The United States vs. Billie Holiday)

Set in the 1940s, Lee Daniels’s The United States vs. Billie Holiday follows the life and struggles of Billie Holiday, one of the most instrumental jazz singers in the history of music. In particular, the film focuses on the U.S. government’s racially motivated preoccupation with targeting and harassing Holiday. The government persecuted Holiday under the guise of drug-related offenses, but Daniels explores another motivation—stopping Holiday from performing “Strange Fruit,” her anti-lynching song, which became an anthem for the civil rights movement. Three-time Grammy Award-nominated singer Andra Day’s performance in this film’s leading role is absolutely stunning, made all the more startling by the fact it is only the third film credit of her career. (She previously played the role of “Minton’s Singer” in Marshall and voiced the character “Sweet Tea” in Cars 3.) Although the film as a whole had a number of flaws, Day’s take on Billie Holiday was surely not one of them—she was singularly the film’s dazzling high point. Day transformed into Holiday, delivering striking moments of passion and restrained moments of intimacy, and it deservedly earned her an Oscar nomination this year.

Vanessa Kirby (Pieces of a Woman)

The setup for Pieces of a Woman is simple—a young couple, Martha (Vanessa Kirby) and Sean (Shia LaBeouf), lose their baby during a home birth gone wrong, and they are left to grapple with the emotional toll of this tragic event, while also dealing with the stress of a legal case being pursued against the midwife who delivered the child. For me, it was impossible to watch Vanessa Kirby in Pieces of a Woman and not come away thinking, “Wow, that is what acting is all about.” The film’s storyline is, at its very core, crushing and heartbreaking, and Kirby delivers every single one of her character’s raw and painful emotions with devastating exactitude. It is a shame Kirby hasn’t been shown more love this awards season in what has turned out to be a wide-open Best Actress race. (She’s been nominated at a number of noteworthy award shows, but her only significant win was the Volpi Cup for Best Actress, the award given out at the Venice Film Festival.) The portrayal of Martha required Kirby to embody the essence of a shattered woman, consumed by inconceivable grief, while also to methodically demonstrate the character’s ultimate revival and enduring spirit to press on—Kirby checked these boxes off with apparent ease. It was an outstanding expression of pure acting prowess.

Frances McDormand (Nomadland)

In Nomadland, following the death of her husband and the closing down of the manufacturing plant in her hometown (at which she worked), Fern (played by Frances McDormand) makes the decision to sell most of her personal possessions, purchase a van, and essentially live a “nomad” life without any fixed residence, driving from city to city in search of odd jobs here and there to make enough money to survive. Make no mistake, the legendary Frances McDormand is, in accordance with every other role she’s ever played, wonderful in Nomadland. However, for me, if I was going to sneak in another performer who was snubbed this year (see discussion of such snubs below), McDormand would probably be the one to make way. Nomadland is definitely one of the best films this year (when I reveal my rankings in a few days, you will definitely hear more about it), but considering its beautiful story, cinematography, collective supporting performances, and near-documentary style of filmmaking, it’s a film where the whole is greater than the sum of its individual parts, including McDormand.

Carey Mulligan (Promising Young Woman)

Although Emerald Fennell’s Promising Young Woman is full of unique and intriguing twists and turns, the setup is fairly straightforward: Cassie (played by Carey Mulligan), motivated by the rape of her best friend Nina, spends her nights pretending to be drunk at bars in an effort to attract morally corrupt men (who pass themselves off to her as “nice guys”) in order to ultimately confront those guys about their skeezy behavior and hold them accountable—Cassie is most definitely a modern-day femme fatale. Eventually, Cassie directs her mission to everybody connected to Nina’s rape, which is where the story takes off. Carey Mulligan is nothing short of amazing in this darkly comedic thriller, a bona fide departure from her trademark appearances in period pieces and hard dramas. Cassie is ice cold and vastly different than any character I’ve ever seen Mulligan depict, and if her entrancingly exceptional performance in Promising Young Woman is any indication, I hope we see Mulligan again in the near future taking on another complex modern figure—Mulligan is a first-rate pro!

Snubs and Other Performances

In addition to the nominees, this year supplied movie watchers with a number of other incredible acting performances from female leads who easily could have gotten Oscar nominations themselves—this category is just so unbelievably stacked. First, Jessie Buckley was hauntingly superb in Charlie Kaufman’s enigmatic psychological thriller I’m Thinking of Ending Things, nimbly navigating a cinematic maze of strange, surrealist ideas. Second, in a movie chock-full of first-rate acting performances, Han Ye-ri wonderfully delivered a quiet, yet poignant, depiction of a wife struggling to balance her own happiness against the dreams of her ambitious husband in Minari. Third, Rosamund Pike is enthralling in the Netflix dark comedy I Care A Lot as Marla Grayson, a charismatic (yet brash) con artist who preys on elders in assisted living communities to steal their money and valuables. I couldn’t help but see a lot of similarities in this character to Amy Dunne (the character Pike played in 2014’s Gone Girl, which earned Pike her lone Oscar nomination), so it’s no wonder Pike knocked the performance out of the park. Additionally, one of my favorite acting performances this year came courtesy of breakout actress Bukky Bakray, who starred in Rocks, a British film about a teenage girl who must take care of not only herself, but also her little brother, after her mother abandons the family. Bakray, just a teenager herself, gave a beautiful, gut-wrenching portrayal of the film’s lead, which earned her a BAFTA nomination for Best Actress and a win for the BAFTA Rising Star Award.

Although these performances above were certainly stellar, there was one this year that stood out to me as a performance that absolutely deserved an Oscar nomination (and yet got snubbed): Elisabeth Moss as the lead protagonist, Cecilia Kass, in Leigh Whannell’s rendition of The Invisible Man. Whannell’s version of this classic tale focuses heavily on abuse and the effects it can have on victims, and Moss was nothing short of astounding in her portrayal of this character. Her performance is incredibly intense at moments, while also meticulously subtle at others. With every apprehensive glance, with every hurried breath, Moss skillfully portrays her character’s fear and emotional exhaustion with fastidiousness. Ultimately, Cecilia gets her revenge, in the most badass way possible, and Moss executes the whole operation to perfection. For years, dating back to Mad Men, Elisabeth Moss has been a critically acclaimed staple of television—this year, Moss deserved an Academy Award nod for her silver-screen talents.

Conclusion

Who Could Win: Viola Davis or Frances McDormand

This year, the Best Actress category at the Academy Awards is by far the most competitive of any other acting category. So far, a different woman has won the Golden Globe Award (Andra Day), Critics’ Choice Movie Award (Carey Mulligan), Screen Actors Guild Award (Viola Davis), and British Academy Film Award (Frances McDormand) for Best Actress. Carey Mulligan is getting slightly better odds than the rest of the field, and of the three other Best Actress award winners this season, Viola Davis and Frances McDormand stand the best chance to pull off an “upset.” (In light of how tight this race is, nothing will actually be an upset this year.) McDormand is currently getting +400 odds, while Davis is getting a stunning +200 odds, which is insanely close to what Mulligan is receiving. I wouldn’t be surprised if either Davis or McDormand took home the Oscar on Sunday.

Who Should Win: Vanessa Kirby

I truly enjoyed each performance nominated in this category, but for me, the most emotionally affecting of the year—Vanessa Kirby in Pieces of a Woman—deserves the Oscar. It is a beautifully soul-crushing portrayal of a first-time mother struck by tragedy, and Kirby would have my vote, full stop, if I had one to give.

Who Will Win: Carey Mulligan

As I alluded to above, this category is going to come down to the wire. Carey Mulligan, this year’s winner at the Critics’ Choice Movie Awards, is currently getting the best betting odds to take home the gold at +125. Although not really a frontrunner due to the razor-thin margin between the nominees, my educated guess is Mulligan takes home the Oscar. Promising Young Woman is a vital, timely piece of cinema, and Mulligan is its standpoint star. Prior to this year’s nominations, Davis and McDormand accounted for a combined 8 Oscar nominations and 3 wins—this is only Mulligan’s second nomination ever, and I think the Academy will welcome her into the winner’s circle.

Top 15 Films of the Year, No. 2 – Moonrise Kingdom

Moonrise Kingdom is a film directed by Wes Anderson, with a screenplay written by Anderson and Roman Coppola.  The movie is set on the fictional island of New Penzance off the coast of New England in 1965.  Two 12-year-olds, Sam Shakusky and Suzy Bishop, become pen pals and eventually fall in love.  They decide to run away together on the island to pursue their love for one another, but an epic storm is brewing up and is due to hit New Penzance very soon.  With the combination of the storm and the runaway, the quiet, serene nature of this small island quickly turns tumultuously chaotic.

Wes Anderson has made quite a name for himself in the Hollywood as the creator and originator of a very eccentric, nonconformist style of filmmaking.  Some of his most popular films include The Royal Tenenbaums, The Life Aquatic with Steve Zissou, and The Darjeeling Limited.  For anyone who has seen any of his previous films, Anderson’s distinct method of filmmaking is unmistakable, and in Moonrise Kingdom, he again employs this same scheme.

Anderson collaborated on this uniquely peculiar screenplay with Roman Coppola, a writer he previously worked with on the script for The Darjeeling Limited.  The two have created a brilliantly refreshing tale of young love, and the entertainingly hilarious nature of the film is brought on strongly by the wonderful piece of writing these two men have created.  Their script has resulted in an Academy Award nomination for Best Original Screenplay.

After I rented this movie a while back to see it for the first time, I absolutely fell in love with it—I went and purchased it on Blu-ray mere days after watching it.  It quickly became one of my favorite movies of all time, and it made me a fan of Anderson’s unusual style of filmmaking.  One of my favorite aspects of the movie was the score—acclaimed composer Alexandre Desplat creates a specific tone for the movie through his music, and it truly makes the story even more gripping.

The film features some hilariously interesting characters, played by a combination of star-studded actors and Hollywood newbies.  In my opinion, the two younger actors provide the movie’s brightest performances.  Jared Gilman and Kara Hayward portray Sam and Suzy, respectively, and together they provide for some of the funniest and most endearing scenes in the entire film.  Some great supporting performances are also contributed by some of the film industry’s most enduring performers: Bill Murray plays Suzy’s father, Frances McDormand plays Suzy’s mother, Bruce Willis plays the island’s sheriff, Edward Norton plays the local Khaki scout troop leader, Tilda Swinton plays a character known only as Social Services, Jason Schwartzman portrays Cousin Ben, Harvey Keitel plays Commander Pierce, and Bob Balaban provides the role of the narrator.  This ensemble collectively shines on the screen and makes this film the illustrious piece of art it is.

Also, one of the most recognized hallmarks of any Wes Anderson film is the presence of a cast that features many previous Anderson collaborators.  Moonrise Kingdom marks the sixth Anderson film featuring Bill Murray and fourth film featuring Jason Schwartzman.  Moonrise Kingdom is rated PG-13 for sexual content and smoking.

Academy Award nominations for Moonrise Kingdom:

Best Original Screenplay (Wes Anderson and Roman Coppola)

Previous movies on the countdown of the Top 15 Films of the Year:

3. Zero Dark Thirty

4. Skyfall

5. Django Unchained

6. Life of Pi

7. Amour

8. Les Misérables

9. Beasts of the Southern Wild

10. Looper

11. The Perks of Being a Wallflower

12. The Dark Knight Rises

13. Flight

14. The Master

15. Argo