So the Academy Award nominations came out today, and as usual, I'm disappointed. As to be expected, Academy voters unduly rewarded a host of lackluster, yet strategically launched Award Season bait at the expense of some very fine movies. In so doing they knowingly tipped their hat toward their favorite going in, with a record tying fourteen nominations. That favorite by the way, is a crowd-pleasing retro-chic musical about the magic of Hollywood; wow what a stretch you guys.
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| Gotta love movies about movies... |
Of course, as the proverbial saying goes, "opinions are like a**holes, everyone's got one." So before I delve in to tell you where everyone but me went wrong, let me just say congratulations to all the nominees. Instead of dwelling a lot on Award Season mistakes (
Lion got six nominations? Are you high?), I'm instead going to give the limelight to a couple of people and productions who definitely deserve...something.
Best Song: "Drive It Like You Stole It" from Sing Street
I suppose it was a bit of a longshot to think
Sing Street, an early spring release, would get anything from the Academy. But if it were to be nominated for anything it should have been for Best Song. Admit it, the song, written by John Carney and Adam Levine has all you could want from an anthem of youthful indiscretion. I suppose there's a consolation in knowing the film was nominated for a surprise Golden Globe.
Best Documentary: The Eagle Huntress
I'm actually pleasantly surprised by the nominee roster in this category. A category that includes fiery social justice documentaries
I Am Not Your Negro and
13th, both of which I was sure were too controversial to slip in. Yet while I'm happy the Academy is actually recognizing black filmmakers like Raoul Peck and Ava DuVernay, I am a little disappointed they didn't also pick up
The Eagle Huntress. Sure it's a little feel good in its sensibilities but damn if it wasn't a beautifully shot and compellingly told little doc.
Best Adapted Screenplay: Hunt for the Wilderpeople
If you thought
Sing Street was a longshot that nearly no one had seen,
Hunt for the Wilderpeople's was definitely out there in the tall weeds. Yet for those who have actually seen this film, it was, to put it mildly, an undeniable gem. The story of an adopted son and father roughing it in the woods is based on the novel "Wild Pork and Watercress" by Barry Crump and it has to be one of the funniest, most intricate and innately human stories ever put to film. And while I promised not to speak ill of current nominees (again congratulations), the category of Best Adapted Screenplay could use some buffing up.
Captain America: Civil War for Best Visual Effects
Speaking of buffing up - why no love for
Captain America? Out of all the superhero movies this year,
Civil War is certainly the most deserving of at least one slot in a category that usually doles out participation trophies for it's ilk; i.e. Best Sound Mixing, Sound Editing or Visual Effects. Once you've seen the airport fight scene for the second time (or in my case the thirtieth), you have to admit the visual effects deserve some freakin' recognition.
Hailee Steinfeld for Best Actress in The Edge of Seventeen
This young lady portrayed a bratty, self-centered jerk of a teenager and still managed to bring the character back off the edge of un-likability and into our hearts. While doing so, Hailee Steinfeld also exposed a lot of deep truthes about growing up. Steinfeld already has a nomination under her belt with
True Grit (2010) so here's to hoping she'll be graced with Oscar glory again soon.
Annette Bening for Best Actress in 20th Century Women
Unlike a lot of people/movies on this list, Annette Bening was considered a sure thing. Blame it on
20th Century Women's late season start and dainty box office legs I guess.
The Handmaiden for Best Foreign Film
The Handmaiden was on the shortlist of so many critics' Best of the Year lists. Why oh why was it not nominated? Oh right, because the country of origin (in this case South Korea) needed to nominate it. And what did push forward instead of Chan Wook-Park's sultry period film? Kim Jee-Woon's
The Age of Shadows instead. Psh, Oscars.
Elle for Best Foreign Language Film
While we're on the subject of Foreign language films, what is the Academy's excuse for not nominating
Elle? They nominated Isabelle Huppert for Lead Actress so it only makes sense to have film also in the Foreign Film category. My guess for the exclusion is the subject matter. While Huppert may have done a fearless job as a rape victim seeking (kinda) revenge, most Academy voters probably couldn't stomach the movie itself.
The Neon Demon for Best Production Design
Admittedly I was not a fan of this film. Nor am I part of Nicolas Winding Refn's film school acolytes who elevate the director's mis en scene to the near perfection of Stanley Kubrick. Yet I have to admit, the Production Design for this movie was downright fierce.
Aaron Taylor-Johnson for Best Supporting Actor in Nocturnal Animals
I suppose I understand the inclusion of Michael Shannon in this category instead of Aaron Taylor-Johnson. Michael Shannon has been paying his dues garnering a personal brand as an actor's actor. Aaron Taylor-Johnson on the other hand is fairly new within Award Season circles. Still, considering Taylor-Johnson was not just nominated but won the Golden Globe a few weeks ago, it's a huge surprise he wasn't nominated this morning. I say, why not have both?
The Nice Guys for Best Original Screenplay
Oh Shane Black - despite having a recognizable name, brand and style all you own, I think you're destined for a life of unrecognized greatness. While The Nice Guys may not be on par with
Kiss Kiss, Bang Bang (2005) it's certainly strong enough as a script to deserve accolades. Here's to hoping director/writer Shane Black will have another chance at the brass ring when the sequel (hopefully) comes around.
Sausage Party for Best Animated Movie
If
Anomalisa (2015) was nominated for Best Animated Feature than Sausage Party deserves a slot too. Repeat after me: "animated films are not just for children!"
A Monster Calls for Best Visual Effects
A Monster Calls on the other hand was for children. Yet its rather dour themes and fable-like story probably turned off the few Academy voters that went to see it. It wasn't nominated for anything though with that in my mind, the visual effects are impeccably on point.
Martin Scorsese for Best Director in Silence
I guess there are some places even diehard fans and media intelligentsia won't go. While
Silence was billed as a passion project for the eight-time nominated director Martin Scorsese, Academy voters decided to all but shut out the sincere film of faith. In-fact it was only nominated for one Award: Best Cinematography.
Tom Hanks for Best Actor in Sully
Perhaps the movie came out a bit too soon after the dubbed "Miracle on the Hudson," or perhaps Academy voters couldn't stomach giving the great master Clint Eastwood, yet another notch on his belt. Either way Tom Hanks and the cast and crew of
Sully will have to sit this year out. But hey, at least we got
Toy Story 4 to look forward to!
Keegan-Michael Key for Best Supporting Actor in Don't Think Twice
2016 was a pretty good year for tiny indie films and
Don't Think Twice is arguably one of the tiniest. Yet the story of an improv troupe struggling to accept one member's sudden success has enough meat on the bone to deserve a little recognition from the Academy. And that recognition should be perched squarely on the shoulders of Keegan-Michael Key who plays that one successful actor in a pool of gifted amateurs. If you haven't watched Don't Think Twice, check it out, and I'm sure you'll agree Key deserves some love here.
Closet Monster for Best Makeup
Not going to lie, the makeup was just okay. I just want an excuse to bump Suicide Squad off the list. Seriously, Suicide Squad was nominated for a f***ing Oscar!
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| For real?! |
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