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Post by Jeremy on Apr 25, 2021 10:21:36 GMT -8
Sure, the BP winners get a post-Oscar bump. But usually there's at least one or two films in the nomination pool that were hits with the public even pre-Oscar season (think Get Out, Black Panther, 1917, etc). But I speak with a lot of casual film fans, and none of them have watched a single one of this year's nominees.
Obviously the lack of hit nominees is impacted by the lack of any true "hit movies" this year. Broad circumstances were outside the Academy's control, and I expect next year's selection will feature more in the way of well-known films. But it's the latest evidence how, over time, the Oscars have shown less and less overlap with the film-viewing public at large.
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Post by Jeremy on Apr 25, 2021 11:28:55 GMT -8
Incidentally, I've seen six of this year's Best Picture nominees (haven't watched Minari or The Father yet; waiting for the rental prices to drop), and I have a somewhat controversial ranking:
6. The Trial of the Chicago 7 - A generally mediocre film, one of Aaron Sorkin's worst. Stock characters, uneven performances, broad then-and-now political parallels. The second act is relatively strong, but the film's attempts to reconcile its main story with the Black Panthers subplot doesn't quite work, and the final scene is painful in its cheesiness.
5. Nomadland - Despite a strong anchor in Frances McDormand and a vivid naturalistic feel from Chloe Zhao, this is a sterile, one-note film that ultimately goes nowhere. The first half-hour is pretty solid, with some stealth commentary on crony capitalism, but the film can only hit the same beats for so long. (Also, I'm guessing this will never stream on Amazon Prime, lol.)
4. Mank - A well-made, well-acted Hollywood throwback with some subversive themes about Tinseltown groupthink, Mank is the kind of film that genuinely should work - but it feels cold and distant for much of its run. More interesting to talk about than it is to actually watch.
3. Judas and the Black Messiah - An impressive directorial debut for Shaka King, this film benefits from an entertaining story and a great leading duo in Daniel Kaluuya and Lakeith Stanfield. Downside is that the film can't quite decide which character is the true lead (and neither could the Oscars, natch), muddying the waters by the time it reaches a conclusion.
2. Promising Young Woman - Despite its potentially exploitative premise, this film didn't take the route I expected, and turned out to be a rather nuanced exploration of the #MeToo movement and its fallout. Carey Mulligan is great, and the undercurrent of dark humor makes up for some plotting issues, such as the film's meandering midsection.
1. Sound of Metal - Easily my favorite of the Best Picture nominees (of the 75% I've watched, anyway). This is a well-executed character piece with a moving lead performance by Riz Ahmed, who is neatly matched by the great Paul Raci. The film's use of sound is creative and arresting, making it one of the most innovative films of 2020. Tough to watch in spots, but certainly worth it.
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Post by guttersnipe on Apr 25, 2021 12:33:35 GMT -8
I actually meant that I've only seen two of the films nominated for anything (Onward and Tenet). And I don't know about the world at large, but advertising is a big part of generating movie interest, and honestly, I've barely seen a trailer for any films for ages aside from that of Promising Young Woman. People obviously haven't had much opportunity to see these things before a big-screening, and television is understandably more keen to promote its own wares, so I can see why we're basically treating 2020 as the year that cinema forgot.
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Post by Jeremy on Apr 25, 2021 14:59:23 GMT -8
Wow. Yeah, I think history will see the past year as a cinematic anomaly. Recall that a few of the high-profile potential Oscar grabbers were postponed to next year - and in a pandemic-free world, I could certainly see one or two of this year's nominees courting a wider audience and becoming more integrated in the cultural conversation. It's too bad that Promising Young Woman premiered in a year that didn't give it room to shine - it's become a highly controversial and polarizing film, and spurned some fascinating debate and discussion, but only among the small handful of people who've watched it.
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Post by ThirdMan on Apr 25, 2021 15:39:54 GMT -8
But it's the latest evidence how, over time, the Oscars have shown less and less overlap with the film-viewing public at large. I don't know. I'd say they've been nominating big-screen, populist blockbusters for the main awards a lot more in the past decade. Especially since they expanded the number of films in the Best Picture field beyond five entries. This year, of course, is an exception, because most of the big blockbusters have been pushed back until the majority of theaters re-open. Of course, they've also shown more of a willingness to nominate foreign films for major awards (beyond Best International Film), which, to me, is a good thing, but probably alienates those who only respond to fully-mainstream fare. I actually think the quality of films being nominated (and winning) in recent years has gone up, overall. Previously, they'd often nominate middlebrow "Oscar-baity" films that very few people are genuinely enthusiastic about. At least now they're getting a little more adventurous with what they're nominating, however polarizing some films may be among casual mainstream viewers, because said films are sometimes a bit "difficult" in nature. (I can't speak to this year, though, as I've only seen Promising Young Woman and Mank, of the eight BP nominees. Both of which I liked, but wasn't bowled over by.)
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Post by Jeremy on Apr 25, 2021 16:51:34 GMT -8
As I recall, the expansion of the BP pool was specifically motivated by complaints when The Dark Knight and Wall-E were snubbed. It was in hopes that more popular films would have a shot at nomination.
I guess a more appropriate critique is that the last few years (and this year in particular) have displayed the yawning divide in modern cinema - everything is either a massive blockbuster or a low-budget indie, with very little in between. And without the "tentpoles" this year, the Oscars is left without a major drawing point for most viewers.
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Post by ThirdMan on Apr 25, 2021 16:59:45 GMT -8
I guess a more appropriate critique is that the last few years (and this year in particular) have displayed the yawning divide in modern cinema - everything is either a massive blockbuster or a low-budget indie, with very little in between. True. Most big-budget films are blockbusters with previously-established IP, and most smaller films are indies that are simply picked up by the studios for wider distribution. Original, mid-level budgeted (~$30-60 million) films that cater to a wider "adult" audience are in relatively short supply these days.
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Post by guttersnipe on Apr 26, 2021 12:34:50 GMT -8
I overslept this morning so didn't put the news on for dome time, but as far as I can tell, there's barely been any Oscars coverage here at all. I don't know if the ceremony was running at a loss but all things considered, it kinda feels like they should have probably sacked the whole thing off like the Olympics and Eurovision and permitted this year's nominees to run in 2022.
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Post by ThirdMan on Apr 26, 2021 14:42:40 GMT -8
It's too bad that as the awards shows get more diverse and international, the ratings continue to go down. Hopefully theaters re-open before too long, so the nominated films can get more mainstream publicity, and the show can bounce back to some degree.
I didn't mind them giving award recipients more time and leeway with their speeches (which are always gonna be hit-or-miss depending upon the person giving the speech), but they certainly leaned too heavily on words over music (no dramatic scores from the nominated films being played when people win) and actual film clips.
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Post by Jeremy on Apr 26, 2021 18:50:58 GMT -8
It's especially frustrating in a year when most film fans haven't seen (even heard of) the top nominees. If the Oscars are intended to promote little-known films to the general public, why not show more clips of those films? Did any casual film fan watch the ceremony and come away with a new desire to check out Mank or Judas and the Black Messiah? I doubt it.
I'm indeed a bit surprised by the lack of attention the ceremony has gotten online - even in the low-rated years, there are usually a few clips that go viral, like an actor dropping an F-bomb or giving a polarizing speech. But there wasn't much to offer in that respect, unless you count Daniel Kaluuya thanking his parents for having sex. Plus the Glenn Close moment that was pretty obviously scripted even before the producers came clear about it.
Anyway, I found the ceremony watchable, but only because I had a large pile of laundry last night that needed folding. That plus the rampant Twitter snark keeps these ceremonies palpable enough. And of course, the last sixty seconds of the show made for one of the greatest swings-and-misses in Academy Awards history.
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Post by guttersnipe on Apr 27, 2021 6:35:30 GMT -8
It's too bad that as the awards shows get more diverse and international, the ratings continue to go down. I'd be more sympathetic to them if they hadn't spent practically their entire history ploughing this furrow of representing a kind of middle-brow 'class' that creates the bait atmosphere and makes the diverse and international practically poisonous to Joe Public. They're now tasked with working against an institution they helped create and engender. Anyway, I found the ceremony watchable, but only because I had a large pile of laundry last night that needed folding. Has there ever been a more damning indictment?
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Post by ThirdMan on Apr 27, 2021 10:28:21 GMT -8
It's too bad that as the awards shows get more diverse and international, the ratings continue to go down. I'd be more sympathetic to them if they hadn't spent practically their entire history ploughing this furrow of representing a kind of middle-brow 'class' that creates the bait atmosphere and makes the diverse and international practically poisonous to Joe Public. They're now tasked with working against an institution they helped create and engender. I agree with this to a degree, but in the past, the "middle-brow", "baity" films would always be up for the big prizes, because that's what happens when thousands of people are voting. Typically, the most adventurous, challenging films aren't going to get much traction with a large aggregate vote. Now that the Academy membership is really diversifying, we're seeing a movement towards less "baity" fare catering specifically to older white males, but the most groundbreaking film(s) in any given year will probably only garner a screenwriting nom, if anything at all. I mean, last year, Parasite won, and that's a much better film than what usually wins, but to me, it was palatable to a wider audience of voters because amidst its artful flourishes, it was still a traditionally entertaining suspense-thriller (with some dark-comedy to boot!). It wasn't a leisurely-paced art film that relies primarily on atmosphere. Now, Nomadland (this year's BP winner) may qualify as that, but that may be down to there simply not being that many films in the mix this year, due to the pandemic. Regardless, people who aren't really film fans are, in most cases, always going to be resistant to more challenging fare. They'll sometimes watch whatever wins Best Picture (good or bad) with a chip on their shoulder, just to say they don't like it and the "Academy doesn't know what good movies are", and then go back to only watching generic mainstream comedies and blockbusters. Anyways, ultimately, these awards should only really matter to the artists winning them, as a way to be recognized by one's peers for "good work", and to encourage more people to check out their film. To me, the films being nominated have trended in a positive direction in recent years, but viewers of film and TV are too splintered for something like The Oscars to ever be the "cultural event" it once was (for the entertainment industry at large). Oh well, oh well.
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Post by guttersnipe on Apr 27, 2021 14:04:21 GMT -8
Regardless, people who aren't really film fans are, in most cases, always going to be resistant to more challenging fare. They'll sometimes watch whatever wins Best Picture (good or bad) with a chip on their shoulder, just to say they don't like it and the "Academy doesn't know what good movies are", and then go back to only watching generic mainstream comedies and blockbusters. Yeah, this is kind of my little window unto the world, where the bait pictures have traditionally operated as a kind of lightning rod for the casual crowd to watch a well-meaning film concerning black folks other than Denzel or Will Smith, usually clocking around 2hrs 15 with ochre tones and a lot of wooden tables. Then they forget about this pseudo-obligation until same time next year. And I absolutely agree that the proliferation of various media can't help but diminish the veneration of such an event, but I'd like to think this besmirching is helping to prompt the Academy to look around. The fact that the BP group is wider and permitting the inclusion of animated and international pictures is sign enough that they're (slowly) responding to the wider possibilities of cinema (the last decade has seen them overlap with the Palme d'Or again after a long period of divergence).
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Post by Jeremy on Mar 21, 2022 20:08:54 GMT -8
It's that time of year again, and as we wait with bated (or maybe not-so-bated) breath to see which films take home the gold on Sunday, I thought I'd give some preliminary Oscar thoughts. Here's my ranking of this year's ten Best Picture nominees.
10. Don't Look Up - Easily the sore thumb in the field. Clunky, heavy-handed, and obvious, with a parade of celebrity stars and hyperactive editing doing little to disguise the lazy script and unfunny satire. A handful of laughs, but the one-joke premise is stretched way too far, in a film that's far too long.
9. The Power of the Dog - Well-made film with plenty of interesting ideas, which all take forever to reach some level of fruition. A frictionless slog for much of its run, and much of the character interaction (apart from the Cumberbatch/Smit-McPhee material) is pretty anodyne. Not a bad film so much as a thoroughly boring one.
8. Drive My Car - Perhaps the most widely acclaimed of all the nominees, this film boasts some good visuals and committed performances, but that cannot compensate for the fact that it is a three-hour movie with the most threadbare of plots. Good sense of atmosphere, but thoroughly uninvolving, with some navel-gazing dialogue centered around The Theater. It just did very little for me. Sorry, everyone else.
7. Licorice Pizza - A lot of things to like about this film - great sense of time and place, good performances, and clever comedy. But it also feels very disjointed, with a lot of long stretches that don't add up to much as a whole. I don't mind vignette-style films per se, but this one had some extra-heavy lifting because the central relationship that threads through it all is... kind of gross, and the film doesn't really do enough to justify it as framing for a full-length feature. Decent film overall.
6. King Richard - My opinion of this one has dulled a bit. It's entertaining and features a great performance from Will Smith, but it doesn't escape the feel of highly-polished Oscar bait. Also, the underlying messages it instills about abusive parents of athletic children is not great, Bob.
5. Belfast - Earnest crowd-pleaser - Benign and precocious, but clearly personal for director Kenneth Branagh (who, let's face it, has done a lot worse behind the camera). Predictable, but features good use of color palette and a winning performance from young Jude Hill.
4. Nightmare Alley - Gorgeous and haunting film boasts great cinematography and a foreboding atmosphere, as well as a solid performance from Bradley Cooper. It does drag on for a while, though.
3. CODA - Another sweet family drama, but more effective than most. Delightful cast, warm script, emotional finale. And its use of spoken dialogue vs. sign language makes for some highly effective scenes about communication. A charming film all around.
2. Dune - With the caveat that this is just one half of a complete story, it's still a marvel of scope and production, with a great cast and some incredible visual effects. Space opera has rarely been this grand or immersive, and sandworms have never been this cool.
1. West Side Story - After fifty years in the biz, Spielberg proves he's still among the industry's top talents. A gorgeous and often dazzling remake of a classic tale, realized by a charming young cast (even if the two leads are a bit dull) and an incredible swooping camera. The musical numbers are delightful, and the story remains a classic. Perhaps even better than the 1961 film, though I'd need to rewatch both to confirm.
P.S. Pig and French Dispatch are better than all of these films, and it's a scandal that both were completely snubbed by the Academy.
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Post by ThirdMan on Mar 21, 2022 20:25:37 GMT -8
Haven't seen CODA or Drive My Car yet, but of the eight I have seen, I'd rate West Side Story and Licorice Pizza 4-Stars-out-of-5, and the rest 3.5 Stars or lower. (French Dispatch would also get 4 Stars from me, and it's stupid that it didn't at least get some technical nominations.) At any rate, far from the worst Best Picture lineup I've seen (even when including earlier five-nominee ballots), even though I'd only consider revisiting the two 2021 nominees I mentioned.
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