The Oscars: A Guide To What’s Actually Best Picture 2017
Oh hai, readers. It’s that time again. Tuxedos are being rented, fashion designers are rubbing their hands together with glee and retailers of gold polish in Hollywood are experiencing their annual upturn in sales. In just a few short hours, two dozen individuals or groups of people will be in receipt of a bronze paperweight plated with gold, and will then forever be referred to as “Academy Award Winner” in any future publicity material. I’ve long since given up on sitting up for the Oscars while they’re on – this year I have further mitigation in the fact that I’m at paid work tomorrow, for the first time in nearly a year – but I can never manage the disappointment that comes with films that I’ve formed a personal attachment to coming away empty-handed.
This well-dressed parade of injustice used to cause me to dislike the Academy Awards and their ilk for quite a few years, but I’m rather more at peace with it now, not least because I see the benefits of a box office boost to a film’s time in cinemas. Since my reason for starting this blog was to encourage people to see more films in cinemas, anything that can achieve this end can’t be all bad in my book. But I can’t help but feel that, this year more than many in recent years, the best film is likely to miss out, despite being a favourite of many more lauded and respected critics than yours truly.
But we’ll get to that. First, a gentle reminder of how the biggest film prize of the year is whittled down. Any motion picture, of more than forty minutes in length, shown for seven consecutive days at least three times a day (including one evening showing) in Los Angeles County, and advertised to the public by normal processes, between January 1st and December 31st 2017 can be considered as the best film for 2017. This year that’s given us 341 motion pictures that have to fight it out for the title of Best, and those competing can be a little confusing to British cinema fans. Not just for the fact that films like Lady Bird have only just arrived in cinemas, but for the fact that Paddington 2 won’t be eligible until next year, and David Brent: Life On The Road is one of the eligible films, despite being in UK cinemas eighteen months ago.
Anyway, I’ve been through the list, and I can tell you that of that 341, I’ve managed to see over 140 of them, with a handful more due in British cinemas in the next couple of weeks. One year I’d love to be able to say I’d seen them all, and could pass a truly informed opinion on what the Best Picture is, but given that this year I’ve seen My Little Pony: The Movie (eligible), I’m prepared to take a pass on the other 200 and assume that the cream of the crop can be found in what I’ve managed to view already.
So, firstly here is the breakdown of the films that would have been on my longlist had I been putting together a Best Picture rundown:
Baby Driver; Call Me By Your Name; Coco; Dunkirk; Foxtrot; Lady Bird; Phantom Thread; The Killing Of A Sacred Deer; The Shape Of Water
Blade Runner 2049; Brawl In Cell Block 99; Chasing Coral; Dawson City: Frozen Time; A Fantastic Woman; Lady Macbeth; Loveless; Okja; Personal Shopper; Raw; Star Wars: The Last Jedi; Thelma; Three Billboards Outside Ebbing, Missouri
Cast me away on a desert island with that lot and I’d be a happy man for quite a while. But we’re in the business of finding the top 1, not the top 22, so you need to know what would have made my list.
So if I’d had to make a nomination list of nine to match the Academy’s, then my 10/10 choices would have filled it out quite nicely. The personal disappointment starts here, in that the Academy and I could only agree on five out of the nine: of those that didn’t make it in, I can only presume that Coco was too animated, Foxtrot too obscure (Israel’s submission for Best Foreign Language got only to the top nine of that category, not to the final five), The Killing Of A Sacred Deer too wilfully odd and Baby Driver too general entertainment (and also too lacking in a major supporting role for Christopher Plummer, if you get my drift).
But five out of nine is not bad, and for me represents the strongest year since the 2010 awards, the last time I would have given five of the nominees a 10/10 rating. Here though, for the avoidance of any doubt, is my official ranking for this year’s awards in reverse order of appreciation.
The Least Best Picture is Darkest Hour
It might be about to give Gary Oldman a first Best Actor award – which, as so often, is richly deserved but probably not for this role – but this generic biopic is all bluster and little subtlety, and this comes from someone who’s a founder member of the Joe Wright Appreciation Society, for his work on the likes of Hanna and Anna Karenina which I am willing to bet money I liked more than you did. This, though, feels the most awards-baiting entry of the nine nominees available.
Which Is Not As Good As The Post
It’s good, solid, reliable Spielberg delivering yet another good, solid, reliable Oscar contender, but one that falls slightly short in the drama stakes compared to its journalistic relatives such as All The President’s Men and Spotlight. Nice to see Thanx and Meep (as I would hope she would sign herself on Twitter) sharing a screen though.
Which Is Not As Good As Get Out
Controversial opinion of the year: I think Get Out is a great film, I think it’s the most important film of the year in many ways, I would instantly list Jordan Peele as someone whose next film I would watch with no prior knowledge of content or talent involved – but, despite a satisfying ending that deviates from expectation, I did find that the film lost its way in the last half hour or so, and there’s just occasionally a lack of subtlety that I think will come in Peele’s next films.
Which Is Not As Good As Three Billboards Outside Ebbing, Missouri
Now that the go-to way to hammer home your message appears to have become renting three billboards, decking them out with similar posters, and driving them to the location of a tragedy, it’s no wonder that Three Billboards is at the top of public consciousness right now. Given that Martin McDonagh is still using Peter Dinklage to make short people jokes, nearly a decade after In Bruges, I’m still now quite sure how this walked off so easily with the Golden Globe and the BAFTA. I don’t think we need to have our film characters held to the same moral standard as the people who act in them or who hold political office, but I can also understand why that moral ambivalence has made a few people uncomfortable.
Which Is Not As Good As The Shape Of Water
It might just be Pan’s Labyrinth 2: Electric Merman Boogaloo, but that doesn’t stop The Shape Of Water being an utter delight. Sally Hawkins should immediately be given a damehood, the freedom of anywhere she likes and free ice cream for a year for her magnificent performance, and the cast around her are equally impressive. It’s just the occasional feeling that more could have been done with Michael Shannon’s grotesque baddie that keeps this further from my top spot.
Which Is Not As Good As Dunkirk
If I’m a Joe Wright fan, then I’m practically at the level of stalker for Christopher Nolan. Putting aside the disappointment of Interstellar, he eschews movie stars and manages an intimate focus on three different aspects of war. He’s also convincingly selling us a war film about a retreat and a relative defeat, but finding the spirit without being jingoistic. I do wish I hadn’t enjoyed watching the dogfight sequence in 4DX quite so much, though. (Wheeeee!)
Which Is Not As Good As Lady Bird
I believe that Noah Baumbach, Greta Gerwig’s partner, offered to direct this when Gerwig was developing it, but Gerwig decided to make it herself. Based on this, she should offer to direct his next ten films, as she’s much, MUCH better at it. Its greatest trick is the quick cut montages which offer all of the detail and emotion of major events in short bursts, but I wouldn’t want to sell short the performances or the magnificent script, where not a single word feels superfluous.
Which Is Not As Good As Phantom Thread
I keep a spreadsheet which records every film I’ve seen in the past ten years, and that also enables me to track the record of any director over that period. Paul Thomas Anderson has now become the first director in that decade to deliver four bona fide masterpieces (There Will Be Blood, The Master and Inherent Vice being the preceding three). This might just be the best of all of them, and it’s as immaculately constructed and utterly beguiling as any of its lead character’s creations. Vicky Krieps was properly robbed of a Best Actress nomination, though – hurry up and retire, will you Meryl?
This, of course, means that…
The Best Picture Of 2017 is Call Me By Your Name
I don’t think this is going to win Best Picture. If I get up for work in eight hours to discover it has, it will be a moment as beautiful as a Michael Stuhlbarg monologue at the end of a gorgeous Italian summer. I’ve seen this twice in a cinema and found myself even more mesmerised by the film’s beauty the second time, and I do believe that Luca Guadagnino’s work as director is one of the film’s most underappreciated assets, Best Director nomination notwithstanding. (The blocking and placement in the fountain scene alone gives me goosebumps.) I just hope talk of a sequel is unfounded, some perfect moments can’t and shouldn’t be replicated.
So that’s it, my list of the nine nominees in order for another year. To finish, please find my increasingly squashed scorecard of the decade so far, since the nominations expanded, to see how this year’s ratings compare to years past. And if you’re watching the awards, just remember that it’s only an awards show. Have fun.
Oscars Countdown: A Guide To What’s Actually Best Picture 2014
It’s that time again. The carpet is reddened, the bald heads are polished, the seat fillers are preparing to do their thing and the finest fashion houses on the West Coast are delighting at the sound of cash tills ringing or whatever noise 21st century cash registers actually make. Awards season reaches a climax on Sunday with the somethingth annual Academy Awards (the number’s not important, look it up if you’re really bothered, it’s eighty-something, they’re all basically the same anyway). There’s more reason than most this year to actually watch the awards, because Doogie Howser M.D. / Barney Stinson himself, Neil Patrick Harris, is hosting and I think it’s fair to say if he does it to the standard of the other awards shows he’s hosted, it should be a job for life if he wants it. Not convinced? Then try watching his opening number for the 2013 Tony Awards. If the opening to the Oscars is half as good as this, it’ll be the best thing to happen to the ceremony in years.
But it’s not just an excuse to have some song and dance and to see quite how poorly John Travolta can pronounce somebody’s name. (Am I the only one hoping he gets Best Foreign Language Film to present this year?) There are also some awards to be given out, and one film will get to stand alongside the other eighty-ish greatest films of all time already accorded the honour of Best Picture, including Crash, Chicago, The Greatest Show On Earth, Driving Miss Daisy and Titanic. Yep, I don’t even need to tell you that this awards ceremony is to justice and fairness what John Travolta is to public speaking, you already know it, but that doesn’t stop us all from some harmless speculation on who’s going to fare the best come the early hours of Monday morning.
I do wonder if the choice of host is in some way to compensate for what’s a fairly middling selection of films this year. At the end of the post you can see a breakdown of all of my ratings for films nominated for Best Picture since the award increased from five films, but even those at the top end of the chart aren’t the most inspiring films ever made. I weep just a tiny bit that the likes of Mr. Turner, Nightcrawler, Calvary, Under The Skin, Foxcatcher, Inherent Vice and Gone Girl haven’t picked up more recognition, but I won’t claim to be the slightest bit surprised. Equally inevitably, I can say that the three Foreign Language film nominations that I have seen – Ida, Leviathan and Timbuktu – are all comfortably better than at least half of the Best Picture nominations this year.
So as Oscar and his chums will get the final decisions wrong as inevitably as Transformers and Alvin And The Chipmunks sequels will continue to be inflicted upon us because we keep paying to watch the damn things, I’ve managed to see all eight Best Picture nominations so once again present For Your Consideration: the only ranking that really matters, my own view on the films that could walk off with the big one from least best to best. (Disclaimer: as far as I know, all of the Oscars are the same size, it’s just a figure of speech.)
The Least Best Picture Is The Imitation Game
Oh dear. The Imitation Game feels like it occupied a screen in my local cinemas for ever, but I fear they may have been the only one as Morten Tyldum’s film actually took slightly less money than Mrs. Brown’s Boys D’Movie in the UK last year. Rapturous public acclaim from those who have seen it can only indicate that many of those people don’t actually watch many films, for there’s only really two good things about The Imitation Game. Those two things are named Benedict Cumberbatch and Keira Knightley and both deserve the nominations in this year’s acting categories they’ve won themselves, although the fact that neither is likely to actually scoop the award is also a fair assessment.
Where to start with the problems, then? First off is the direction, which is flat, lifeless and rarely does anything above pointing a camera in the direction of the nearest stationary actor. Then there’s the script, which botches almost every aspect of Turing’s life and is a structural mess. Most of the remaining background characters are well-acted but one dimensional cyphers, Turing is made out to be somewhere between a sympathiser to the opposition and a traitor (which is all swept under the carpet late on anyway) and the title cards over the final shot are so condescending as to be deeply insulting to anyone with an IQ more than their shoe size.
But it’s the general contempt for its audience that rankles most about this year’s Weinstein Company vehicle for awards success. I’ve visited Bletchley Park and the National Museum Of Computing, and it’s a deeply enthralling place that’s awash with momentous history. Here it’s reduced to man builds magic box, man turns on magic box, magic box works, the end, which is a narrative non-event of the highest order. Good performances will only go so far, and good luck to The Imitation Game for fleecing the British public of over $20 million, but this is a desperately average film at best and a Turing travesty at worst.
Which Is Not As Good As American Sniper
Speaking of contempt for your audience, there’s nothing like showing you simply don’t give a stuff about the quality of your end product when one of the most discussed facets of your film is the incredibly fake baby that’s unconvincingly passed around to comedic effect in the second half of the film. It’s an insult to just about everyone when you can’t even be bothered to put that right, but sadly it’s also indicative of the slightly sloppy notes creeping into Clint Eastwood’s last few films.
There’s a problem with what American Sniper is, which is an unbalanced, flag waving action movie. That’s set the American box office alight but box office success and critical quality make poor bedfellows. There’s also a problem with what it isn’t, which is true to Chris Kyle’s story if the book is any judge; the film gives Bradley Cooper moral uncertainty and a sense of self-righteousness that aren’t exactly a reflection of Kyle’s own telling of his story, and you can’t help but feel that the more interesting film – and the one which the Eastwood of ten years ago might actually have made – would be one which steers closer to Kyle’s own public record of his motivations and experiences.
I would also like to go on record as being mystified that Bradley Cooper has been nominated for Best Actor or Supporting Actor three years in a row, which puts him in an exclusive club along with Spencer Tracy, Gary Cooper, Gregory Peck, Marlon Brando, Richard Burton, Al Pacino, Jack Nicholson, William Hurt and Russell Crowe. I’m sure he’s a lovely bloke (and he’s also impressively bilingual), but not one of his three nominations has really been in the best of the year. Sorry Bradley.
Which Is Not As Good As Birdman
Hopefully I made my feelings about Birdman pretty clear with my review. I understand that many people enjoyed this but I can’t help but feel it’s been rewarded for technical achievement rather than artistic endeavour. Actually, maybe that’s the way forward – a combination of two sets of scores, one for technical and one for artistic, in the same way as ice dancing. It couldn’t be any more convoluted than the current voting process.
Don’t get me wrong, I don’t hate Birdman, and I love almost everyone associated with it, but even thinking about it now, six weeks after having seen it, leaves me feeling slightly exhausted. I will be a grumpy Gus if this picks up the big award, but I have a horrible feeling it might because it’s packed full of Actors with a capital A and we’ve seen much worse Actors films (*cough* Crash *cough*) walk off with the main award in the past.
Which Is Not As Good As The Theory Of Everything
The Imitation Game and The Theory Of Everything have a lot in common: they’re two British films that have two high-flying British actors in significant roles, where the man has a role which features a requirement for an increasing level of acting tics and mannerisms. Both the lead actor and actress in each case have picked up an Oscar nomination of their own and both films were nominated for both best British film and best film at the BAFTAs. And in both cases, the two main performances are by some distance the two best things about the film.
The Theory Of Everything isn’t by any stretch of the imagination as frustratingly poor as The Imitation Game, but neither is it up to the standard of director James Marsh’s previous work, including Project Nim, Man On Wire and the excellent and overlooked Shadow Dancer. It’s a pretty standard narrative set in a chocolate box Cambridge that doesn’t pan out in the way that you expect such stories to – although many going in will already know the outcome – but it’s told in a conventional, straightforward fashion and it’s both showy and understated in a rather conflicted manner.
Then there’s rather a significant step-up in quality…
Which is Nowhere Near As Good As Selma
I don’t believe that the acting has been overlooked in Selma for reasons of race or colour, but I do believe that the nominated actors all have the attention-grabbing, theatrical roles that normally get nominated and it becomes that much harder for those whose work is less clip-worthy to nudge their way into the nominations. Selma has been all but excluded from the final breakdown. You have to go all the way back to Decision Before Dawn in 1951 to find a film with a Best Picture nomination and only one other nomination in a minor category, and that really doesn’t reflect well on the Academy’s voters who had plenty of opportunities to recognise the work done here.
There have been a few reports that the tension between LBJ and Dr. King have been overplayed, but this would hardly be the first film to adjust the truth slightly for narrative purposes (yes, that is a reference to you, The Imitation Game), but there’s still enough well placed fact here to pack the punch that the story needs to. From a gut wrenching opening explosion to scenes of focused tension when the gathered masses attempt to march out from Selma, director Ava DuVernay has a strong handle on the material and isn’t afraid to shock a little to get your attention. The song over the closing credits makes a contemporary reference to what’s happened in Ferguson over the past year and it serves as a direct reminder that the issues here haven’t gone away in the intervening fifty years; in fact, Selma could scarcely have been released at a more relevant time.
I do hope this will give career impetus to David Oyelowo, in a film littered with top draw performances from British actors such as Tom Wilkinson and Tim Roth. Maybe the moral of the story is that if you’re a British, you need to be putting on an accent as posh as Keira Knightley’s plummy Imitation Game Brit-warble, rather than flawlessly mimicking the accents from across the Atlantic.
Which Is Not As Good As Boyhood
Yes, other films have watched children grow up, but never over the course of a single film to such remarkable effect as Richard Linklater’s latest towering achievement in direction: one that will, if there’s a shred of natural justice left in this overly glamorous farrago, see him pick up an award for direction that his career has long since justified. The Before trilogy may have inadvertently charted the evolution of a relationship over a quarter of a lifetime, but Boyhood is a timelapse on adolescence quite unlike anything that’s ever been attempted before.
And we shouldn’t just applaud the fact that twelve years is an insanely long time period over which to be producing a film, with no guarantee that the end product would have ended up even useful (or that the actors would have made it to the end of the process they started). Having to pick someone at the age of six and to hope he’ll still be interesting in a dozen years is an unenviable task, but Linklater gets round this somewhat by using Ellar Coltrane as the prism through which to examine the transition from childhood to adulthood, rather than the focal point.
Absolutely greater than the sum of its parts, the lead actors are all still magnificent – and Hawke and Arquette would probably both have one in a slightly quieter year, although Arquette hopefully still will – but the real power of Boyhood is in absorbing it, ideally in a single sitting, and allowing the repetition and the rhythms to wash over you.
Which Is Not As Good As Whiplash
I’ve seen a few reviews which take issue with a number of aspects of Whiplash. They can be broken down into two main categories: firstly, that the events of Whiplash are somewhat lacking in realism. Your average hospital drama does a fairly appalling job at accurately portraying the finer points of medicine, so I don’t believe we should get too hung up on the mechanics of music school. However, this also applies to some of the story structure (one character being explicitly and repeatedly told not to do something at all costs, before doing that in less than thirty seconds in a manner that’s then never explained or referred to again). While I can see where that’s coming from, I believe that Whiplash – almost perversely for a film based around jazz drumming – operates at the level of an opera, with two main characters going to extraordinary lengths to win the approval of their audience and their peers and as such, any plot manoeuvres are best not dwelt on for too long.
The other criticism, and one which carries a little more weight, is the idea that Whiplash is at best ignoring the perils of bullying, and at worst justifying that as a means to an end for artistic greatness, almost as if genius cannot be attained without suffering. I have a different take: J.K. Simmons’ Terence is modelling Miles Teller’s Andrew into his own image, even if he’s not doing so intentionally, and this is a classic power struggle, a battle for dominance between two alpha males at the cost of their very souls, and neither can reflect on their actions with any sense of pride by the end.
In between theatrical plot twists and enhanced egos there lies Whiplash, a film oozing confidence and doing a much better job of its jazz drumming soundtrack than Birdman managed to. For the first two-thirds it’s a compelling character study, but then as the plot moves up a tempo or two we reach a breathtaking climax that had my heart almost beating out of my chest. Whiplash is darkly enticing, thrilling without the promise of evolution or redemption and it does so with a jazz soundtrack that might even win a few converts. If nothing else, it elevates J.K. Simmons to the level of recognition he’s long since deserved.
The Best Picture Of 2014 Is The Grand Budapest Hotel
There’s probably around a dozen or so directors who, if marooned on a desert island, I would be content if nothing else but the products of their career’s labours washed up beside me. (Ideally a giant TV to plug in next to the palm tree would be nice). While Wes Anderson continues to make films that flirt with the deep sadness of the human condition but yet in which every single element is lovingly crafted, his last pair of films – this and Moonrise Kingdom – have been not only as good as anything else in his career, but are as deep, meaningful and hysterically enjoyable as anything else being made anywhere today.
If you want to know which film brought me more pleasure than any other last year, then look no further. But The Grand Budapest Hotel ups the ante by setting itself across four eras, each of which comes shot in its own typically relevant and period friendly aspect ratio and which emphasise the evaporation of time that comes to the best of us before we can even come to terms with it. Anderson might just have perfected the formula he’s been honing since Bottle Rocket and before.
The cast is astonishing, even those in barely a couple of scenes able to walk off with entire films elsewhere, but the pairing of Anderson with Ralph Fiennes is a masterstroke that I hope history will look back on and regard with greater significance. (Admittedly I only placed Fiennes eleventh on my performances of the year last year, but I think I was maybe being a tad harsh.) You can see why Anderson migrated entirely to stop-motion for The Fantastic Mr Fox for his films have a love, a care and an attention to detail that’s rarely seen outside the world of physical animation. It’s that unbelievable attention to detail and the total delight of the script, the direction and the performances that cause me to rate this film top of the Oscar pile for 2015. Expect the Academy voters to have totally ignored me.
And finally, as promised, my rankings out of 10 for all the Best Picture nominees in the six years since the category expanded. Sorry I’ve missed five of them, but I still think that’s a pretty good record. It doers hopefully show that this isn’t a great year, but I will keep my fingers crossed that one or two decent films will pick up something before the Oscars are over for another year.
A Guide To What’s Actually The Best Picture 2013
A Guide To What’s Actually The Best Picture 2012
Oscars Countdown: A Guide To What’s Actually The Best Picture 2013
It’s nearly over. The extended farrago over who’s better than who and the flood of yet more pointless platitudes from the supposedly great and good of Hollywood comes to an end for another year in the early hours of Monday morning UK time, with the 497th Academy Awards (probably). It’s not been a bad year for films, and the awards voters in Hollywood have got a lot more right than wrong this year. Gradually, the large field of contenders has been whittled down to just nine, through a process of expensive advertising and devious marketing, and the times when The Secret Life Of Walter Mitty, The Monuments Men, Saving Mr. Banks or The Counselor were being considered seriously for awards greatness – in other words, before people actually saw them – have long since passed, and we’re now firmly at the business end. In just over two days, Hollywood will allow a select band of people to upgrade to “Academy Award Winner” when they’re mentioned in trailers for serious films, while a host of others will have to remain content with “Academy Award Nominee” or, somewhat inexplicably the best he can yet do, “BAFTA Award Nominee / SAG Award Nominee / Independent Spirit Award Winner Paul Dano”.
For the third time in the four years that the blog has been running, I’ve managed to see all of the nominees in all of the big eight categories (picture, director, acting, writing) by the time the awards happen, compared to the two occasions I could claim that before I started blogging. However, this has led me occasionally to be sat in front of a film simply so I could claim a full house on my Oscar bingo card – mainly because I like to feel informed when I criticise the Academy for its poor decision making – but this year my only real regret was seeing The Butler about two days before it seemed to lose all of its awards momentum. At least I got to claim a full house at BAFTA as well, and I could answer the question as to whether Oprah Winfrey deserved a nod ahead of June Squibb. (Answer: no. I’m sure Oprah will be crying herself to sleep on a giant bed made of money and success at my decision.)
The process has, inevitably, thrown up a few films that should have got more love, but were inhibited either by their very nature or by the resistance of their distributors to spend flipping great wodges of cash taking out ten page ads in Variety asking voters to please, please, pretty please remember their film when casting their vote for Best Art Direction or Sound Editing. In a different year, with a slightly different sensibility, or if the Academy actually understood what people in general mean by “Best”, we might have seen Short Term 12 (too indie), Frozen (too animated), Prisoners (it looked too generic from the trailer – it wasn’t), The Great Beauty and The Hunt (too subtitled, even when one stars an actual person famous to Americans in Mads Mikkelsen), Iron Man 3 (too mainstream), The Act Of Killing (documentaries should know their place, apparently), Inside Llewyn Davis (too miserable without being melodromatic) or Before Midnight (too sequel-y). All of them are better than the first three on this list, Before Midnight better than most, but we should at least be grateful the list we do have doesn’t have any real stinkers in it.
So, for the third time in four years, here’s my ordering of the nominees for Best Picture, from least best to most best.
The Least Best Picture is Dallas Buyers Club
We should all be duly relieved when something of the quality of Dallas Buyers Club is the least of the nominees in a given year. Don’t get me wrong, there’s a lot to enjoy about Dallas Buyers Club: the performances of both Jared Leto and Matthew McConaughey are excellent and I wouldn’t begrudge either the awards they’re nominated for (although they’re not necessarily the best). Details of Ron Woodroff’s real life may have been somewhat sketchy, leading to this being a little more myth-making than accurate reporting, but it’s the kind of story that needs a little myth-making when all’s said and done.
There are three main problems with Dallas Buyers Club. First is the lack of other characters: Jennifer Garner – who, apropos of nothing, looks amazing for 41 and being married to Ben Affleck – only develops into a living, breathing character around the halfway mark, and no-one else gets a look in; the lack of character development for Ron’s fellow club worker Denise, for example, is almost breathtaking. Secondly, it’s a story in need of a better ending, saddled with a feeling of anticlimax. And thirdly, although it has no bearing on the quality of the finished product, there really should be an apostrophe in that title.
Which is not as good as American Hustle
American Hustle is the movie equivalent of a decent Chinese takeaway: satisfying and enjoyable while you’re consuming it, but for some reason leaves you unfulfilled not long after. Much of what there is to enjoy is down to the performances, from Bradley Cooper’s tightly wound FBI agent to Christian Bale’s sleazy conman. While Jennifer Lawrence might be a little miscast, it would take a genuine curmudgeon to take too much offence with her stroppy headbanging, but the real highlight is Amy Adams once again twisting any man in a five mile radius round her little finger.
But beyond the quality of the acting, the rest feels as threadbare as Christian Bale’s wig / comb-over combo. There feels little new about the story or its handful of twists, and David O. Russell’s direction lacks the narrative drive or visual flair of many of his contemporaries. It’s undoubtedly in awards contention thanks to the quality of the performances and the large voting bloc that the actors make up in the Academy, but whether or not that support will carry Hustle to the big prize remains to be seen. It won’t quite be a Crash-level shock if it does, but it will be almost as unjustified.
Which is not as good as Philomena
I have to confess that I was checking my watch around an hour into Philomena. It wasn’t for any lack of enjoyment, as Steve Coogan and Jeff Pope’s script was doing an efficient job of pitching up the cultural differences between Coogan’s journalist Martin Sixsmith and Judi Dench as the titular Catholic mother looking for the son taken from her decades earlier, but it had never quite caught fire. Treading a tricky line between serious issue drama and gentle Brit comedy, it wasn’t so much that it couldn’t decide which to settle on, more that it was content to be a reasonable example of both.
But the power of Philomena comes in the last third, when the true nature of events has unfolded and the gentle events of the first two acts actually work to blind side you to what’s coming. Dench is, unsurprisingly, outstanding but Coogan also proves his dramatic chops and shown that he can be more than just Alan Partridge. It was a good year for Coogan, with Partridge’s big screen foray also being well received, and stranger things have happened than Philomena picking up a screenplay award in the big shakedown.
Which is not as good as Nebraska
Alexander Payne is becoming a reassuring brand of quality, but after the slight dip of The Descendants – hamstrung by too much repetition of scenes of explaining that someone had died – Payne has once again found his groove with a slice of family life in the American Midwest. Pulling in a wide variety of family members, it’s a slightly skewed road trip led by Bruce Dern’s befuddled father insisting that he’s come up trumps in the lottery. While Dern has drawn the lion’s share of the acting plaudits, June Squibb also has an Oscar nomination for her efforts and Will Forte has redeemed himself for a fair chunk of over-the-top comedy performances with his restrained showing.
But it’s not just the director that’s pulled his weight. Bob Nelson’s script feels so in tune with Payne’s sympathies I did a double take when seeing Payne didn’t write it as the end credits scrolled. Phedon Papamichael’s black and white cinematography also avoids cliché and justifies the decision for monochrome shooting, and Nebraska is beautifully paced and allows you to fall in love with its characters despite their flaws. It looks as if nominations are the best that Nebraska can hope for, but against the quality of the opposition, there’s no shame in that.
Which is not as good as Captain Phillips
It wouldn’t be the Oscars if there wasn’t a huge and unfair omission from the list, and probably the person most justifiably allowed to bear a grudge – even though he already has two shiny gold man-shaped bookends at home – would be Tom Hanks. Stoic and restrained for the majority, his performance in the denouement is gripping and fearlessly honest, and to not even take a nomination is a shame. Paul Greengrass also does his usual bang-up job with the direction, and if that award wasn’t filled with so many strong contenders he would have also been worth a nomination.
Captain Phillips is taut and compelling in all the ways that Greengrass’s earlier features, from United 93 to the Bourne films, were and that his previous film Green Zone wasn’t, so if nothing else it’s just a relief to see Greengrass back on top form. He’s also pulled some great performances from his Somali novices, and Barkhad Abdi is a standard bearer for that part of the cast. Captain Phillips avoids any feelings of exploitation and gives a balanced view of the story, as is so often the case with Paul Greengrass, but it’s not quite at the level of those earlier classics.
Which is not as good as Her
Observation 1: Joaquim Phoenix and Amy Adams should always make films together, if The Master and Her are the benchmark of the quality of their collaborations. They get a lot more screen time together, and while Scarlett Johansson’s OS is the object of Phoenix’s affections, it’s Adams that gives him a warm, balanced human interaction. Observation 2: Spike Jonze, we’ve missed you. Only one film since Adaptation in 2002, let’s hope that Jonze can find more stories that inspire him, especially as Her shows that the quality of his writing is easily the equal of his directing and feels in tune with his earlier work from other writers.
Observation 3: Even five years ago, it’s difficult to imagine a film like this working as well as it does, but Jonze’s timing is impeccable, our acceptance of technology now enabling us to accept such a concept so readily. Despite being saddled with the most unlikely name in the history of movies and facial hair that verges on comedic, Theodore Twimbly draws in your sympathies and you find yourself rooting for his and Samantha’s relationship to work. Observation 4: What keeps this from true greatness is the slightly fudged ending, which while being brave enough doesn’t quite feel as fully formed as the rest of the film.
Observation 5: Any film that can actually make me start to like Arcade Fire is doing something clearly right.
Which is not as good as The Wolf Of Wall Street
It’s three hours, Matthew McConaughey is relegated to an extended cameo and it’s been accused of not being sympathetic enough to the victims while its misogyny poorly serves the female characters. Does that stop it being one of Martin Scorcese’s top tier films? Not in my view. The length works in its favour, giving true scope to the true excess that defined Jordan Belfort’s era of ultimate debauchery. It would have been lovely to have more of McConaughey, but there’s enough in the other characters, from DiCaprio’s physical comedy to Johan Hill’s cheesy grin and a whole array of entertaining supporting turns.
The sympathy for the victims is trickier, as we only see one person being sucked into the scheme, but whereas the comparisons to Goodfellas are well founded, that was an indictment of a lifestyle on the fringes of society. The Wolf Of Wall Street is more of a condemnation of the culture that arose, and where the desperate needs of so many allowed them to be so easily exploited by Belfort and his cronies. As for the treatment of female characters, this is a realisation of Belfort’s view, and to attempt to give a politically correct balance to the characters would have undermined the callousness of Belfort’s world. It isn’t quite Goodfellas, but frankly, what is? When Scorcese’s legacy comes to be written, this should deserve a decent paragraph.
Which is not as good as Gravity
Watching the making of videos for Gravity serves to underline quite what a technical achievement Alfonso Cuaron’s film is. The sheer level of new techniques, melded with established practices pushed to their very limits, creates a cinematic experience unlike any which have gone before and despite the success of space-based epics such as Avatar and 3D improvements like Life Of Pi, Gravity is immersive and impressive in ways that truly haven’t been seen before, and as much as I’m about to rave about 12 Years A Slave in the next section, I can’t help but feel for his breadth of vision and the clarity of his purpose, Cuaron deserves the best director award this year.
The story is painted with broad strokes but deals in metaphor and has slightly alienated some; there are no shortage of character moments, and Sandra Bullock has overcome the technical challenges imposed by the role to deliver a sympathetic study in loneliness. It will be remembered for what’s seen – and to a certain extent, what’s heard, as the music and sound design complement the visuals perfectly – but the quality of the other departments, in both writing and acting, doesn’t in any way let the side down. Gravity is one of a number of films touring cinemas as part of awards season, so if you haven’t seen it on the big screen yet, don’t let the chance pass you by, and make sure to see it in 3D.
The Best Picture Of 2013 is 12 Years A Slave
I’ve been a fan of Steve McQueen’s cinematic work since his first film, Hunger, and I rated Shame as my film of the year in 2012. You can understand that I then approached 12 Years A Slave with a little trepidation: as McQueen edges ever closer to the mainstream, would his vision be compromised? Could his third film possibly live up to the hype? Such questions seem almost trivial once you’ve seen the film, and McQueen has once again delivered a near perfect blend of his own direction, coupled with an acting masterclass and a script that judges just the right moments to deliver a searing portrayal of life in the slave trade.
I’ve been known to cry in the cinema before, from the heartbreak of the final meal in Of Gods And Men to the tragedy of a life told in montage in Up. It is fair to say that I am in touch with all of my emotions once I’m in the darkened environs of a cinema. With that in mind, it should come as no surprise that 12 Years A Slave completely destroyed me. Rather than sobbing, tears just streamed down my face at regular intervals, I had to sit in the car for best part of half an hour while I composed myself afterwards and required a beer at the hotel I was staying at for work afterwards to enable me to sleep.
McQueen’s shot composition is from the man of a mind that grew out of art galleries but is now equally comfortable in cinemas. Here he proves beyond any doubt that he’s equally invested in his characters, portrayed as they are so devastatingly by the likes of Chiwetel Ejiofor, Michael Fassbender and Lupita Nyong’o. John Ridley’s script has a wonderful ear for the dialogue of the era, and 12 Years A Slave is supremely dramatic and heartbreaking without ever feeling overwrought. The only misstep might be the inclusion of producer Brad Pitt in a small role, but that’s easily forgivable given the offscreen influence he’s likely to have been able to bring to getting this made. If 12 Years A Slave wins big, then McQueen shouldn’t have any difficulty attracting whoever he wants for his next project.
12 Years A Slave is an aspect of slavery rather than a complete picture, as last year’s Django Unchained and Lincoln also explored different facets. But it exceeds either of those films in its insight into both human suffering and ultimately compassion, tinged with hope as much as it is burdened by suffering and anger. In my view, Steve McQueen has now made the two most compelling films I’ve seen this decade, and I can only hope that Hollywood shares this feeling and duly rewards it tonight.
A Guide To What’s Actually The Best Picture 2012
Oscars Countdown: Do We Really Need Ten Best Picture Nominations?
Yesterday the countdown began to the biggest night in movie self-aggrandisement of the year, the 83rd Academy Awards. The cycle of the modern era is thus: everyone from top print critics to plebs such as myself produces end of year lists, then spends the next couple of months being repeatedly and increasingly disappointed when their favourites are overlooked. I’ve become increasingly disenchanted with the Oscars for just that reason, but old age and boredom have led me to realise that while I may not enjoy them as much as I once did, I still have an opinion on them. In that respect they’re like the weather or The X Factor – you may not really enjoy them, but it’s good to have an opinion on them.
So between now and the big night in a little over a month, I will, whenever I get bored of talking about other things, give my view on some of the big issues surrounding the Oscars. The biggest talking point after the nominations is
couldn’t they have found anyone more interesting than Mo’Nique and that old guy to announce them why your own personal favourite didn’t make the cut, of course. As much as I was pleasantly surprised that Dogtooth made it into Best Foreign Language or that The Illusionist made the final cut for Best Animated, my disappointment at such exclusions as Christopher Nolan for Best Director, Andrew Garfield for Best Supporting Actor, Tron: Legacy for Best Soundtrack and especially Lesley Manville for anything at all just increases my frustration with the whole process.