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.
They build the entire show around a Chadwick Boseman ending and then Anthony Hopkins won and didn't show up
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!
In advance of tomorrow’s 93rd Academy Awards ceremony, it is time to reveal my ten favorite films from the COVID year in cinema!
My Top 10 Films of 2020 (COVID Year)
No. 10 – I Care A Lot
The Netflix film I Care A Lot (written and directed by J Blakeson) is a very, very dark comedy, which follows Marla Grayson (Rosamund Pike), a charismatic (yet incredibly brash) con artist who preys on elders in assisted living communities to steal their money and valuables. The movie’s plot takes off when Marla rips off the mother of a dangerous crime boss (Peter Dinklage). Although I Care A Lot has been fairly well received from critics (its critic score on Rotten Tomatoes is 80%), it has received surprisingly negative reviews from audiences (its audience score on Rotten Tomatoes is 35%). One of the main criticisms I’ve read is the fact in this film, basically no character has any redeeming qualities. Most audiences want someone to root for, and I will definitely not shy away from the fact this film lacks that traditionally heroic (or at least ethical) character. But for me, that aspect of the film does nothing to change my opinion—this is a biting and ruthless story, told with an almost jolly tone, and I loved every minute of it. Rosamund Pike is stellar in the lead role, embodying Marla’s sociopathy in haunting fashion. Dinklage is also superb as the film’s more traditional “villain.” Additionally, I was in love with the film’s score—its electronic sound gives off serious Drive vibes. To put it plainly: I really loved this movie. Streaming for free for subscribers to Netflix.
No. 9 – Promising Young Woman
Promising Young Woman, written and directed by Emerald Fennell (for all you fans of The Crown, Fennell plays Camilla Parker Bowles in seasons 3 and 4), tells the story of Cassie (Carey Mulligan), a modern-day femme fatale who, 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 in order to ultimately confront those guys and hold them to account for their behavior. Eventually, Cassie directs her revenge at everybody connected to Nina’s rape, which is where the story takes off. Promising Young Woman is such a great film. Although its setup is fairly straightforward, Fennell keeps us guessing throughout the development of the plot, sending the audience on a weaving path full of unexpected twists and turns. A vital story for the times, Fennell deservedly earned Oscar nominations this year for Best Original Screenplay, Best Director, and Best Picture—it’s great to see the Academy recognizing the immense contributions by a female filmmaker to the silver screen. From an acting standpoint, the film features a number of great cameos (e.g., Alison Brie, Adam Brody, Max Greenfield, and Alfred Molina), as well as fantastic supporting performances from Laverne Cox and funnyman Bo Burnham. However, the movie truly thrives in no small part because of the amazing performance by Carey Mulligan in the leading role. As I pointed out when I reviewed Mulligan’s performance a few days ago, Cassie is an ice-cold character in a darkly comedic thriller, which is staggeringly different compared to the roles Mulligan traditionally plays in bona fide period pieces and hard dramas. Mulligan’s brilliant departure from her comfort zone led to stunning results, and it just may land her an Academy Award tomorrow night. Streaming available for purchase or rent on most major platforms.
No. 8 – The White Tiger
The White Tiger, written and directed by Ramin Bahrani, is a film set in India that examines the country’s brutal caste system from the perspective of its lead character Balram (played by Adarsh Gourav), a young man with dreams of escaping poverty and living a life of luxury in the upper echelon of Indian society. This movie was one of the surprise hits of the film season for me—I really only heard about it following the announcement of its Oscar nomination for Best Adapted Screenplay last month. I am so glad I watched The White Tiger. Not only is the movie an important examination of India’s system of social stratification, but it’s also a wildly entertaining story. At the center of the tale is Balram, portrayed amazingly by breakout star Adarsh Gourav. Balram brims with ambition, and he carefully bides his time and strives to get his at all costs, even if it takes a long time to come to fruition—Gourav is wonderful in his portrayal. In addition to Gourav, Priyanka Chopra Jonas was remarkable as Pinky, the wife of Balram’s master. Although this is Balram’s story, Pinky plays an important role in inspiring Balram to break out from the shadows, and Chopra Jonas nearly steals every scene she is in—she was truly exquisite. I didn’t know what to expect from The White Tiger when I turned it on, but what I do know now is I was thoroughly entertained. Streaming for free for subscribers to Netflix.
No. 7 – Minari
Minari, a semi-autobiographical film by writer and director Lee Isaac Chung, follows South Korean immigrants Jacob Yi (Steven Yeun) and his wife Monica (Han Ye-ri) as they move their family from California to rural Arkansas in the 1980s to fulfill Jacob’s dream of starting a Korean produce farm. Although the dialogue is prominently spoken in Korean, Minari is absolutely an authentic American tale of hopes, dreams, failures, successes, and, above all, perseverance and familial spirit. This film by filmmaker Lee Isaac Chung is beautiful, in every sense of the word—the scenic landscapes are striking and the overall heart of his story is inspiring. Other than Chung’s methodical filmmaking style and deliberate storytelling, the highlight of Minari (that truly makes it a must-see film) is the incredible acting. As the Yi family patriarch, South-Korean born Steven Yeun is first-rate in his thoughtful portrayal of Jacob’s commitment to providing for his family, flaws and all. Additionally, Han Ye-ri poignantly depicts Monica’s emotional struggles to balance her husband’s ambitions against her own happiness and the well-being of her family. Moreover, the young Alan Kim is adorable and charming as David, the youngest of the two Yi children. For me, though, the standout performance came courtesy of veteran South Korean actress, Youn Yuh-jung. Youn plays Soon-ja, Monica’s mother, who comes to stay with the family while Jacob and Monica work, and Youn excels fiercely as a foul-mouthed, blunt, and hilarious character, providing most of the film’s most sweet and funny moments. This is such an emotionally affecting movie, and it is quite deserving of its six Oscar nominations—here’s to hoping it takes home some gold tomorrow night (especially Youn for Best Supporting Actress)! Streaming available for rent on most major platforms (not yet available for digital purchase).
No. 6 – The Vast of Night
The Vast of Night is a science-fiction film by first-time director Andrew Patterson, which is set in New Mexico during the 1950s and follows two teens—Fay (Sierra McCormick), a switchboard operator, and Everett (Jake Horowitz), a DJ for the local radio station—who search for the potentially extraterrestrial source of a mysterious radio frequency. The Vast of Night has easily become one of my favorite sci-fi films, and yet, it was completely devoid of any expensive Spielberg-esque special effects or set pieces. This film is vastly different than your traditional alien flick in that it focuses almost exclusively on the characters and the mystery of its storyline, rather than on any larger-than-life depiction of extraterrestrial beings. Of course, Patterson had no choice, as this film was made with a budget of just $700,000. It feels almost impossible that a filmmaker could create a worthwhile modern science-fiction thriller on such a shoestring budget, but here, Patterson has done just that. He defied the odds and delivered an edge-of-your seat cinematic experience unlike many others in the genre. In addition to his captivating storyline, I was quite taken by Patterson’s filmmaking style. He utilized a long, fast-paced tracking shot in the opening scene, which gives the audience the lay of the land in this mid-century New Mexico town, and a brilliant long take of Fay frenetically working the switchboard. It’s incredible filmmaking, which makes it even more hard to believe this was Patterson’s debut. If you like sci-fi movies, this one is absolutely worth your time. Streaming for free for subscribers to Amazon Prime Video.
No. 5 – Palm Springs
Palm Springs, written by Andy Siara and directed by Max Barbakow, is a romantic comedy that follows Nyles (Andy Samberg) and Sarah (Cristin Milioti), two guests at a wedding in Palm Springs who are stuck together in a time loop, reliving the same day over and over again. If you read that plot summary and watch the trailer, you’ll likely get vibes of Groundhog Day—but Palm Springs is so much more than that. This is a brilliant film, which strikes the perfect balance of comedy, romance, and drama, all without falling victim to the traditional clichés in similar genre flicks. We learn early on that Nyles has been stuck in this time loop for a very, very long time, while Sarah first enters the loop during the early part of the film. Nyles is resigned to simply not giving a fuck anymore, accepting the time loop is now his life and refusing to care what anyone thinks of him at the wedding. On the other hand, Sarah is a newbie to this time-warped situation and constantly seeks a way out, as if Nyles hasn’t already tried that. (There is a section in the middle of the film where Sarah creatively tries out a number of new ways to die, in hopes that it will break the loop, and it is one of the best and most hilarious sequences in the movie.) Barabkow and Siara have together made a movie that explores some very deep themes in such a charming, comedic, and heartfelt manner. Andy Samberg and Cristin Milioti are wonderful together as the two leads, playing off each other entertainingly and demonstrating a beautiful chemistry, which lends to the film’s emotional hook. Palm Springs is the only out-and-out comedy on my Top 10 list, but it is more than deserving of its high ranking—a surprise hit! Streaming for free for subscribers to Hulu.
No. 4 – Tenet
Christopher Nolan’s newest movie Tenet follows The Protagonist (John David Washington), a secret agent who must undertake an incredibly risky and life-threatening assignment (which involves people and objects with inverted entropies moving backward through time) to prevent global annihilation. This past year, Tenet supplied me with one of my most memorable cinematic experiences. At the end of last summer, in the midst of the COVID-19 pandemic, I masked up, sat down in my local socially distanced AMC theater, and watched (in a near-empty screening room) the blockbuster I had been anticipating for a year in glorious IMAX—and for me personally, despite the criticisms it has received, Tenet lived up to the hype. Through his films, Christopher Nolan continually demonstrates why movie theaters are absolutely, unequivocally needed—at least for the traditional big-budget action movies. In Tenet, Nolan expertly delivers a product that is equal parts spy thriller, cerebral sci-fi flick, and gigantic action extravaganza—visually, it is truly a sight to behold. Some of the film’s highlights include an action-packed opening scene at a Ukrainian opera house that punches you in the mouth (setting the tone for what the audience is in for throughout the rest of the film), a wild bungee jump onto a high-rise in Mumbai, a set-piece involving a real Boeing 747, a mesmerizing car-chase spectacle, some fantastic fight scenes, and an immense battle sequence. Again, visually, no one is consistently better than Nolan. It is also worth mentioning that Ludwig Göransson, who won an Academy Award for Black Panther, composes the score, which is phenomenally pulsating and sets the perfect vibe for the movie. Critics and audiences have complained about a number of things in this film, most notably its sound—and these criticisms aren’t invalid, as there are some parts involving vital exposition that are hard to hear in light of Nolan’s (likely very intentional) sound mix. Ultimately, the film’s occasional flaws do nothing to bring its overall value down in my mind. This is by far one of my favorite Nolan movies (probably his best since Inception), and Tenet will always have a special hold over me personally for the experience it gave me during the COVID-19 pandemic. Streaming available for purchase or rent on most major platforms.
No. 3 – The Invisible Man
Writer/director Leigh Whannell’s The Invisible Man (the most recent film adaptation of the acclaimed 1897 H.G. Wells novel of the same name) follows Cecilia Kass (Elisabeth Moss), who leaves her life of luxury to escape from her abusive, gaslighting boyfriend, Adrian Griffin, a wealthy tech entrepreneur. Cecilia believes her nightmare might finally be over when it appears Adrian commits suicide, until a number of strange events occur, leading Cecilia to believe Adrian has created a technology which makes him invisible. I am a bit surprised myself to find this jump-scare filled horror film so high on my list this year, but it is simply a testament to just how good The Invisible Man is. My initial interest in this movie was the filmmaker behind its creation, Leigh Whannell. Just two years ago, my No. 7 favorite film of 2018 was Upgrade, a visually stimulating sci-fi horror action thriller written and directed by Whannell. From that moment on, it was abundantly clear the degree of skill this filmmaker possesses. Here, Whannell puts his experience and background in the genre to good work (Whannell previously penned the scripts for the first three installments of the Saw franchise and all four Insidious films, the last of which he also directed), creating one of the best horror movies I’ve ever seen. Whannell builds up the suspense in The Invisible Man with perfect pace, and the pay-offs are worth it. In conjunction with Whannell, lead actress Elisabeth Moss delivers a performance that is nothing short of sensational. As I discussed a few days ago (when I argued for why Moss should have received an Oscar nomination for this role), Whannell’s rendition of Wells’s classic tale focuses heavily on abuse and the effects it can have on victims—Moss is the perfect vessel through which to tell that story, using her immense acting skill to portray her character’s fear and emotional exhaustion throughout the film. Cecilia is constantly living a nightmare, haunted by a man who simply cannot accept her leaving him, and Moss’s intense, yet meticulously subtle, portrayal of this dynamic is enrapturing. Between Moss’s incredible acting and Whannell’s spine-tingling filmmaking, The Invisible Man has secured a place in horror history. Streaming for free for subscribers to HBO Max.
No. 2 – Judas and the Black Messiah
Judas and the Black Messiah tells the true story of Fred Hampton (the titular Black Messiah, played by Daniel Kaluuya), the real-life chairman of the Illinois chapter of the Black Panther Party and deputy chairman of the national Black Panther Party, who was gunned down by law enforcement in 1969, and William “Bill” O’Neil (the titular Judas, played by Lakeith Stanfield), the criminal-turned-informant who infiltrates the Illinois chapter of the Black Panther Party at the FBI’s behest. On the day Judas and the Black Messiah was released on HBO Max (for its 31-day streaming release in accordance with the HBO Max/Warner Bros. deal), I watched the film twice. And even after that, I routinely went back to it to relive some of its best scenes, as I just simply couldn’t get enough—it’s truly incredible filmmaking. This movie is so very important and should be required viewing as a remarkable depiction of the underlying racial, societal, and political forces which both brought Fred Hampton to prominence and resulted in his assassination by the Chicago police. This story, like so many others in the history of the African-American experience in this country, deserves to be told, and my hope is that folks without a good idea of who Fred Hampton was (or what the Black Panther Party at its core truly believed in) see this movie and gain a greater respect for these freedom fighters and the immense challenges they faced. Aside from the imperative story of the civil rights movement at the heart of the film, Judas and the Black Messiah should be used as a tool in every single acting class. As Fred Hampton, Daniel Kaluuya is electrifying. The film features a number of scenes depicting rallies and speeches, as Hampton was a commanding orator during the civil rights movement, and this is where Kaluuya succeeds the most (although he is also impressive in his character’s quieter, more intimate moments). The church speech alone makes this film one of my favorites of the year, as Kaluuya demonstrates a true embodiment of Hampton’s real-life role as a revolutionary—it is definitely one of my favorite scenes in movie history now. In addition to Kaluuya, Lakeith Stanfield is extraordinary as the controversial Bill O’Neil. This film is at its root a story about O’Neil (for which Stanfield should have been nominated for Best Actor, not Best Supporting Actor), and Stanfield was stunning in his nuanced portrayal of an incredibly complex figure—he delivers the performance of his career with unmistakable precision. Streaming available for rent on most major platforms (not yet available for digital purchase).
No. 1 – Sound of Metal
Sound of Metal, directed by Darius Marder and written by Darius and his brother Abraham Marder (who also composed the film’s score), tells the story of Ruben (Riz Ahmed), a recovering drug addict and drummer in a hard metal band, who suddenly loses his hearing. Eventually, Ruben makes his way to a sober-living community for deaf people, which is run by Joe (Paul Raci), a recovering alcoholic who lost his hearing in the Vietnam War. The tagline for this film is, “Music was his world. Then silence revealed a new one.” This is a perfect description of the film because although Ruben’s hearing loss is set up early in the movie, the heart of Sound of Metal firmly resides in his experience learning to live with his new circumstances. Sound of Metal is an amazing movie and unique cinematic experience, saying so much in the film’s many moments of silence. The story and acting performances go hand in hand, as the performers masterfully breathe life into their characters and capture the audience’s emotions. At the center is one of my favorite acting performances in recent memory from Riz Ahmed, the first Muslim to be nominated for Best Actor at the Academy Awards. Ruben’s arc is complex—he’s understandably overwhelmed by the sudden unrelenting silence in his life and spends the film fighting against addictive-like urges to seek out quick fixes to his circumstances—and Ahmed portrays the character masterfully in heartbreaking fashion. Ahmed delivers an absolute master class in acting. In addition to Ahmed, Paul Raci gives one of the year’s best supporting performances as Joe. As I pointed out a few days ago when I reviewed Raci’s performance, the actor is not deaf, but he has a deeply personal connection to the story, as he is a C.O.D.A. (i.e., child of deaf adults). This fact about Raci, in conjunction with his fluency in American Sign Language, provides an authentic context to the story, which results in Raci’s magnetic performance as the stoic, yet kindhearted, Joe. Had Daniel Kaluuya’s performance not existed this year, it’d be hard for me to accept anyone else taking home the Oscar for Best Supporting Actor other than Raci. Overall, Sound of Metal is a beautiful and emotionally affecting movie, and it is the single best film I saw this past year. Streaming for free for subscribers to Amazon Prime Video.
In today’s post, I will review the Best Supporting Actor category for this year’s Oscars. Let’s go!
Sacha Baron Cohen (The Trial of the Chicago 7)
In Aaron Sorkin’s The Trial of the Chicago 7, which tells the true story of a group of anti-war activists standing trial for allegedly inciting riots at the 1968 Democratic National Convention in Chicago, Sacha Baron Cohen plays Abbie Hoffman, the outspoken Flower Power leader who co-founded the “Yippies” (i.e., the Youth International Party). Baron Cohen is exhilarating as Abbie Hoffman, and his overall fit as a performer for this role is embodied in this quote by Baron Cohen on playing Hoffman: “There’s the public persona of Abbie where he’s trying to inspire people and then there’s the private Abbie. So there’s a balance between the clown and the intellect.” Baron Cohen strikes gold in portraying this dichotomic nature of Hoffman, using his trademark funnyman skills to perfection, while also emoting the superb dramatic elements of the character. In a year where Baron Cohen dominated entertainment headlines for his Borat sequel, his true prowess as an actor was most exemplified by his turn as Abbie Hoffman.
Daniel Kaluuya (Judas and the Black Messiah)
In Judas and the Black Messiah, Daniel Kaluuya portrays Fred Hampton, the real-life chairman of the Illinois chapter of the Black Panther Party and deputy chairman of the national Black Panther Party, who was gunned down by law enforcement in 1969. This film should be required viewing as a remarkable depiction of the underlying racial, societal, and political forces which both brought Fred Hampton to prominence and resulted in his assassination by the Chicago police. And aside from the film as a whole, Judas and the Black Messiah is a must-see for Kaluuya’s awe-inspiring performance. As Fred Hampton, Kaluuya is electrifying. Hampton was clearly a gripping public speaker, and Kaluuya shines the most in the scenes depicting rallies and speeches. The film’s signature scene takes places in a church following Hampton’s release from prison, wherein Hampton delivers an iconic movie speech to his many supporters. It’s single-handedly one of my favorite scenes in movie history, and Kaluuya is front and center. During that speech, Kaluuya masterfully embodies the true essence of Fred Hampton’s vital role as a revolutionary. It’s some of the greatest acting I have ever seen, which only adds to Kaluuya’s other impressive moments in the film’s quieter, more intimate scenes. This year, there simply was not a better supporting performance by an actor than Daniel Kaluuya as the one-of-a-kind Black Panther leader.
Leslie Odom Jr. (One Night in Miami…)
Regina King’s directorial debut One Night in Miami…, written by Kemp Powers and based on his 2013 stage play of the same name, gives a fictionalized version of a meeting between civil rights icons Malcolm X (played by Kingsley Ben-Adir), Cassius Clay/Muhammad Ali (played Eli Goree), Jim Brown (played by Aldis Hodge), and Sam Cooke (played by Leslie Odom Jr.) at a motel in Miami, Florida, following Ali’s title-winning fight against Sonny Liston in 1964. I was personally impressed by each of the four central actors’ performances in this movie, but as the Academy and numerous other award shows have noted via their nominations, Leslie Odom Jr. clearly stands out as the best. Odom Jr. first became a household name a few years ago due to his transfixing performance as Aaron Burr in the critically acclaimed Broadway musical Hamilton, but in One Night in Miami…, he demonstrates why he’s a true force to be reckoned with on the silver screen. In this film, Odom Jr.’s transformation into Sam Cooke is exquisite, and his acting skills are most on display in the scenes debating and arguing with Ben-Adir’s Malcolm X about the strategic ins and outs of the civil rights movement. (Not to mention Odom Jr. utilizes his award-winning vocal skills in a beautiful performance of Cooke’s famed “A Change Is Gonna Come” toward the end of the film.) Leslie Odom Jr. put on a show as Sam Cooke, and for that, he received a deserved first Oscar nomination. (Odom Jr. is actually nominated twice this year, as he also received an Oscar nod for Best Original Song for co-writing “Speak Now” from the same film.)
Paul Raci (Sound of Metal)
Sound of Metal tells the story of Ruben (played by Riz Ahmed), a recovering drug addict and drummer in a hard metal band, who suddenly loses his hearing. Eventually, Ruben makes his way to a sober-living community for deaf people, which is run by Joe (played by Paul Raci), a recovering alcoholic who lost his hearing in the Vietnam War. If it weren’t for Daniel Kaluuya’s justified domination in the Best Supporting Actor category this awards season, I would heavily campaign for Raci to take home all the wins. His acting in Sound of Metal is incredible as he deftly portrays Joe as an unflappable, yet compassionate figure. A performer with over 30 years of acting experience, Raci’s breakout role was a match made in heaven—although Raci isn’t deaf, he is a C.O.D.A. (i.e., child of deaf adults) and is fluent in American Sign Language. This deeply personal context for Raci’s portrayal of Joe only adds to the magnetism of his performance and the authenticity of the film overall. One of the most emotional scenes in the entire movie (a heartbreaking conversation late in the film between Joe and Ruben at a kitchen table) provided Raci his Oscar moment. I couldn’t be more excited to see the Academy bestow this much-deserved nomination on Paul Raci.
Lakeith Stanfield (Judas and the Black Messiah)
In Judas and the Black Messiah, Lakeith Stanfield plays William “Bill” O’Neil (i.e., the titular Judas), the criminal-turned-informant who infiltrates the Illinois chapter of the Black Panther Party for the FBI. I am beyond frustrated by Stanfield’s nomination in the Best Supporting Actor category. It’s not because Stanfield didn’t give us an Oscar-worthy performance—he delivered in this movie some of the year’s best acting, period. Rather, my annoyance resides in the fact every movie has to have a lead, and in this film, it is Stanfield. This is his character’s story. Expectantly, the Judas and the Black Messiah folks campaigned for Stanfield in the Best Actor category (while Kaluuya received support in the Best Supporting Actor category). But apparently Stanfield received more votes from Academy voters in this category, so here we are. Regardless, Stanfield is magnificent as the controversial Bill O’Neil. The character is clearly the film’s antagonist, and yet, it’s clear O’Neil is a complex figure, progressively more tortured by his informant role as time goes by and the stakes get higher. Stanfield walks his character’s moral tightrope between good and bad, right and wrong, with absolute precision. As an audience, it’s easy to be frustrated with O’Neil one moment, while feeling great empathy for him in the next—and it is Stanfield’s expertly nuanced portrayal that makes people care about the character.
Snubs and Other Performances
Other than the Oscar-nominated actors discussed above, this past year featured a number of other noteworthy acting performances from performers in supporting roles. First, the always-impressive Barry Keoghan is fascinating in The Shadow of Violence (titled Calm with Horses outside of the United States) as Dymphna, a member of an Irish family of drug dealers who puts up the front of a tough guy, while truly being a more scared, vulnerable character—the actor plays boss/sidekick to the film’s true hardman lead, played by Cosmo Jarvis, and Keoghan again shows why he is one of the best young actors in the world. Second, in the unfortunately average The Little Things, Jared Leto is definitely one of the best parts in his portrayal of Albert Sparma, an enigmatic man suspected of multiple murders. Even if the film underwhelmed, Leto was great, truly sinking into his character. Additionally, in Minari, aside from the other outstanding performances, a couple of which garnered Oscar nominations, Alan Kim was delightful as David Yi, highlighted by his bantering scenes with his grandmother, played by Youn Yuh-jung. Kim is currently 8 years old, and we are sure to see more of him very soon.
However, the one performance I expected to receive an Oscar nomination which didn’t was veteran of comedy Bill Murray in Sofia Coppola’s Apple TV+ film On the Rocks. Murray and Coppola previous collaborated in 2003’s Lost in Translation, for which Murray received his first Academy Award nomination, and in On the Rocks, Murray is clearly back to his best. Murray plays Felix Keane, the father of Rashida Jones’s character Laura Keane. When Laura experiences some strain in her marriage, suspecting her husband of cheating, she taps Felix for help. Laura clearly gets more than she bargained for, as Felix immediately inserts himself way too far into Laura’s life. The key to Murray’s brilliance in On the Rocks is how Felix interferes with Laura’s personal life in an incredibly charismatic way. This relationship between father and daughter is clearly dynamic, and you cannot help but love Felix, despite all his flaws. And for me, that was all Bill Murray. He’s perfect in this role, almost as if he was made to play the part. And for that, I really wish he could have been rewarded with a second Oscar nomination.
Sacha Baron Cohen is currently getting odds of +900 to render an upset in this category, better than any of the other three underdog nominees. However, I don’t anticipate a surprise for Best Supporting Actor. the Academy throws us a curveball here, look for Pesci to be the only other nominee with a chance.
Who Should Win: Daniel Kaluuya
This year, for me, who should win isn’t even a question. There were some really great performances worthy of Oscar nominations…and then there was Daniel Kaluuya—a class of his own!
Who Will Win: Daniel Kaluuya
Not only is Daniel Kaluuya currently getting -2000 odds from the bookmakers, but he’s already secured every single win at the major pre-Oscars ceremonies, including the Critics’ Choice Movie Awards, Golden Globe Awards, Screen Actors Guild Awards, and British Academy Film Awards. This is Kaluuya’s second Oscar nomination following his breakout role in 2017’s Get Out, and for his remarkable turn as Chairman Fred Hampton, he will absolutely be heading home with his first Academy Award next Sunday.
In today’s post, I will review the Best Supporting Actress category for this year’s Oscars. Let’s go!
Maria Bakalova (Borat Subsequent Moviefilm)
Following his 2006 critically acclaimed political mockumentary Borat, Sacha Baron Cohen reunited with his famous Kazakh character for an equally admired sequel, Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan. The sequel centers on Borat Sagdiyev’s return to the United States for the purpose of offering up his daughter Tutar (played by Maria Bakalova) to then-Vice President Mike Pence as a bribe. This movie is everything I could have expected for a new installment about the crazed happenings of Borat, but what did surprise me was just how amazing Bakalova is as Tutar—she truly is the film’s breakout star. A young Bulgarian actress with few credits to her name and no previous exposure to American audiences, Bakalova skillfully matches Baron Cohen’s wit and humor in every single scene. She deftly (and hilariously) navigates some absurdly funny scenes, such as the “bloody” debutante ball and the pregnancy clinic debacle, but the hype surrounding her encounter with Rudy Giuliani is well worth it—she handled a tricky and potentially dangerous situation like a pro. Bakalova is definitely a star in the making.
Glenn Close (Hillbilly Elegy)
Ron Howard’s Netflix drama Hillbilly Elegy, which is based on the memoir of the same name by J.D. Vance, follows a Yale law school student who must return to his hometown in rural Ohio to care for his mother (Amy Adams), who is battling a drug addiction—the film also prominently features flashbacks to the lead character’s childhood, which includes the narrative about his relationship with his grandmother (“Mamaw”), played by Glenn Close. This movie isn’t good. In fact, it’s consistently cringey throughout. The only bright spots at all are the acting performances by Amy Adams and Glenn Close. They were great, as usual, and Close is excellent in portraying the tough, resolute Mamaw. Despite Close’s incredibly physical transformation for the role, I didn’t feel the Academy should dignify the one decent aspect of an otherwise terrible film—therefore, I was a bit surprised to see Close snag nominations at the Critics’ Choice Movie Awards, Golden Globe Awards, and Screen Actors Guild Awards, in addition to the Oscars. Then again, I unfortunately feel like the Academy is desperate to keep giving Close opportunities to win an Oscar (I am truthfully stunned she has gone winless in her previous seven nominations). Regardless of their intentions, it’s difficult for me to get excited about Close’s nomination.
Olivia Colman (The Father)
In Florian Zeller’s film The Father, Sir Anthony Hopkins plays the titular father (whose name is actually Anthony), an elderly man progressively struggling with dementia. Although Hopkins is undoubtedly the most impressive part of the film, Olivia Colman (who portrays his daughter Anne) is striking in her own right. It is clear the role of Anthony is the movie’s most heartbreaking, but truthfully, I felt a greater sense of empathy and pain for Anne, as she is the character with which the audience can most relate. Anne, a devoted daughter who takes her father into her home, ensures care is provided for Anthony in order to make him as comfortable as possible. She adores her father. And yet, she is on the receiving end of Anthony’s mood swings, harsh outbursts, and stinging comments. It’s crushing to see Anne struggling emotionally with the state of her father’s health, but Colman is truly remarkable. Above all, this performance demonstrates the impeccable range Colman has—from her comedic turns in Fleabag and The Favourite (the latter of which earned her an Oscar two years ago) to her immensely dramatic roles in The Crown and The Father, Olivia Colman is unmistakably one of the most talented performers in the business.
Amanda Seyfried (Mank)
Mank tells the story of legendary Hollywood screenwriter Herman J. Mankiewicz (Gary Oldman) and the origin of his role in helping write the script for Orson Welles’s masterpiece, Citizen Kane. In the film, a black-and-white love letter to Hollywood’s “Golden Age,” Amanda Seyfried plays actress Marion Davies, William Randolph Hearst’s mistress and allegedly the real-life inspiration for the Citizen Kane character Susan Alexander Kane. In Mank, Fincher offers a more holistic perspective on Davies’s life compared to her Citizen Kane counterpart, and although the film underwhelmed from my perspective, Seyfried is indubitably exquisite in her portrayal. Seyfried nails Davies’s Brooklyn accent and period-specific mannerisms, and above all, she steals the show in each scene shared with Oldman’s Mank. Thus far in her career, Seyfried is more known for her roles in comedic and romantic films, like Mean Girls, the Mamma Mia! series, Dear John, and Ted 2. However, in 2012, Seyfried proved her dramatic worth via a wonderful performance in Les Misérables. And now, Seyfried has upped the ante, reaching the crowning achievement in her career up to this point with a stellar performance in Mank. Here’s to hoping we see Seyfried take on more superb dramatic roles.
Youn Yuh-jung (Minari)
A semi-autobiographical film by writer/director Lee Isaac Chung, Minari follows South Korean immigrants Jacob Yi (Steven Yeun) and his wife Monica Yi (Han Ye-ri) as they move their family from California to rural Arkansas to fulfill Jacob’s dream of starting a Korean produce farm. At one point in the film, Monica’s mother Soon-ja (played by Youn Yuh-jung) comes to stay with the family in order to take care of the children while Jacob and Monica work. I have two important thoughts, which are relevant for this review: (1) Minari is one of the best films this year, period, and (2) Youn Yuh-jung is my single favorite part. Chung’s film spends a great deal of time exploring the development of the relationship between Soon-ja and David (played by Alan Kim), Jacob and Monica’s youngest child. David initially doesn’t enjoy his grandmother living with them (especially because he’s forced to share a room with her), but the relationship blossoms into a sweet bond. Youn, an acclaimed South Korean film star, portrays Soon-ja dazzlingly. Soon-ja is foul-mouthed, blunt, and downright funny, and Youn fits the role like a glove, delivering many of Minari’s most memorable moments. In one scene, David wets the bed, and Soon-ja asks if his penis is broken, to which David snaps back, “It’s not a ‘penis.’ It’s called a ‘ding dong.’” Later in a church scene when a boy asks David if he can spend the night, Soon-ja (commenting on Monica’s decision to say “no”) quips, “Ding dong broken.” This is the epitome of Soon-ja, and Youn is excellent in her performance.
Snubs and Other Performances
In addition to this year’s nominees, there were a handful of other noteworthy performances that easily could have earned a nomination, especially in place of Glenn Close. First, Dominique Fishback was stellar in her real-life portrayal of Fred Hampton’s girlfriend Deborah Johnson in Judas and the Black Messiah—she is pitch perfect, especially during her character’s more emotional scenes. (Fishback received a BAFTA nomination for her performance.) Additionally, Priyanka Chopra Jonas was remarkable as Pinky in The White Tiger—the Ramin Bahrani-directed film, set in India, was a surprise hit this year (and one of my personal favorites), and Chopra Jonas’s performance was wonderful.
For me, though, the biggest snub in this category was Hollywood legend Ellen Burstyn for her moving performance in Netflix’s Pieces of a Woman. The film, directed by Hungarian filmmaker Kornél Mundruczó, focuses on Vanessa Kirby’s character Martha Weiss, whose baby dies shortly after a home birth. A six-time Oscar nominee (and Oscar winner for Alice Doesn’t Live Here Anymore), Burstyn plays Martha’s wealthy, domineering mother Elizabeth Weiss, a headstrong Holocaust survivor maintaining a tense relationship with Martha. Burstyn is nothing short of incredible in Pieces of a Woman. The highlight of the film is a clash between Martha and Elizabeth at a dinner table, and although it is the defining moment which helped earn Kirby her first Oscar nomination, Burstyn matches her blow for blow. It is an absolute shame Burstyn missed out on an Academy Award nomination for her performance.
Maria Bakalova started the major film awards season off with a bang, taking home a win at the Critics’ Choice Movie Awards. Since then, however, the Borat Subsequent Moviefilm star has played second fiddle to Youn Yuh-Jung. Currently Bakalova is the lead underdog in this category, receiving +300 odds. While I cannot completely rule out a surprise win for Bakalova this year, I don’t feel confident. Regardless, if betting lines are to be believed, she certainly stands the best chance to upset the frontrunner.
Who Should Win: Youn Yuh-jung
Minari is one of the best movies of the year, and Youn Yuh-jung’s performance is arguably its strongest. Youn’s portrayal of Soon-ja is equal parts comedic and touching, and the 73-year-old veteran actress is simply brilliant. Out of all the nominees this year, it’s crystal clear Youn’s performance most deserves the Academy’s top honor.
Who Will Win: Youn Yuh-jung
Following two huge wins within the past two weeks at the Screen Actors Guild Awards and the British Academy Film Awards, Youn Yuh-jung has secured her place as the frontrunner in the Best Supporting Actress category. Currently, she’s drawing -500 odds. Bakalova is still a trendy choice, but I’m growing more and more confident this year’s Oscar is going to Youn.