Well ladies, gents and non-binary folks, it's that dreaded time of year again: Oscars season. Every time I walk into this dragging my feet, ready for the inevitable disappointment of my fave losing and elitists on Film Twitter™ arguing over the tiniest technicalities ("I'm telling you, you can see the motion blur!")
If you've been following me for a while, then you'll know that last year, I wrote a review for every single BP nominee. However, as proud of that as I am, I will not be doing that in future: instead, I will be posting a listing of them ranked based on my own enjoyment and critical viewing. I'd like to add a disclaimer here and say that, although these are not fully fleshed-out reviews, they will likely contain spoilers of integral plot points, so avoid reading on if you still have time to cram your viewings in!
9) Marriage Story
Directed by: Noah Baumbach
Starring: Adam Driver, Scarlett Johansson
Also nominated for:
- Actor in a Leading Role (Adam Driver)
- Actress in a Leading Role (Scarlett Johansson)
- Actress in a Supporting Role (Laura Dern)
- Actor in a Leading Role (Adam Driver)
- Actress in a Leading Role (Scarlett Johansson)
- Actress in a Supporting Role (Laura Dern)
- Original Score (Randy Newman)
- Original Screenplay (Noah Baumbach)
- Original Screenplay (Noah Baumbach)
At the bottom of the list, it has to be Marriage Story. When I heard this film was out on Netflix, I wondered whether or not we could be in for another Roma (2018) level of excellence to grace the streaming platform...I stopped wondering that after about ten minutes of run-time, when I promptly realised that this film was going to be nothing more than an arduous case study into a frankly over-dramatic heterosexual relationship between two, cis-gendered people living in LA.
Yes, it's about divorce, and divorce can be a messy affair. However, this movie just felt bland and one-dimensional in every sense of the word. The infamous climax between husband, Charlie (Adam Driver) and wife, Nicole (Scarlett Johansson) is definitely a spectacle to behold but one shockingly dynamic scene does not a good movie make, otherwise we'd have to consider films like The Break-up (2006) being Oscar-worthy as well (which they're definitely not).
If it wins Best Picture, I will set fire to every DVD I own. That's how confident I am that this has absolutely no chance of winning.
Overall rating: 5/10
8) Once Upon a Time...in Hollywood
Directed by: Quentin Tarantino
Starring: Leonardo DiCaprio, Brad Pitt, Margot Robbie
Also nominated for:
- Actor in a Leading Role (Leonardo DiCaprio)
- Actor in a Supporting Role (Brad Pitt)
- Cinematography (Robert Richardson)
- Costume Design (Arianne Phillips)
- Actor in a Supporting Role (Brad Pitt)
- Cinematography (Robert Richardson)
- Costume Design (Arianne Phillips)
- Directing (Quentin Tarantino)
- Production Design (Barbara Ling and Nancy Haigh)
- Sound Editing (Wylie Stateman)
- Sound Mixing (Michael Minkler, Christian Minkler and Mark Ulano)
- Original Screenplay (Quentin Tarantino)
- Production Design (Barbara Ling and Nancy Haigh)
- Sound Editing (Wylie Stateman)
- Sound Mixing (Michael Minkler, Christian Minkler and Mark Ulano)
- Original Screenplay (Quentin Tarantino)
Now, some of you who know me might be surprised to see me put Tarantino so far down on the list. After all, I'm a big fan of Reservoir Dogs (1992), Pulp Fiction (1994), Inglorious Basterds (2009), and especially Django Unchained (2012): however, all of these films have something that I believe Once Upon a Time does not, and that's an interesting plot.
I have never sat down to watch a Tarantino movie and become so dejected and bored within 20 minutes that I pull out my phone to look at something else and yet there I was the other night, doing exactly that. The acting is fine, and I understand completely why Pitt is nominated for Supporting Actor, but I doubt he has a chance against Joe Pesci; I'm genuinely surprised that Margaret Qualley wasn't put up for Supporting Actress because I'd argue she has one of the best performances of the whole film.
The last act is overkill, even for Tarantino: the gratuitous violence left me disgusted, not entertained. The only nod I think this film deserves is for Sound Mixing and Sound Editing but, all in all, this really isn't Tarantino's best work and it shows.
Overall rating: 4/10
7) Joker
Directed by: Todd Phillips
Starring: Joaquin Phoenix, Frances Conroy, Robert De Niro, Zazie Beetz
Also nominated for:
- Actor in a Leading Role (Joaquin Phoenix)
- Cinematography (Lawrence Sher)
- Actor in a Leading Role (Joaquin Phoenix)
- Cinematography (Lawrence Sher)
- Costume Design (Mark Bridges)
- Directing (Todd Phillips)
- Film Editing (Jeff Groth)
- Makeup and Hairstyling (Nicki Ledermann and Kay Georgiou)
- Original Score (Hildur Guðnadόttir)
- Directing (Todd Phillips)
- Film Editing (Jeff Groth)
- Makeup and Hairstyling (Nicki Ledermann and Kay Georgiou)
- Original Score (Hildur Guðnadόttir)
- Sound Editing (Alan Robert Murray)
- Sound Mixing (Tom Ozanich, Dean Zupancic and Tod Maitland)
- Adapted Screenplay (Todd Phillips and Scott Silver)
- Sound Mixing (Tom Ozanich, Dean Zupancic and Tod Maitland)
- Adapted Screenplay (Todd Phillips and Scott Silver)
I won't go too into detail with this one (keep your eyes peeled on Saturday for a fully comprehensive review) but I will say that, despite its incredible musical score and cinematography, I do not believe that Joker has a place amongst the nominees for Best Picture. It is a narcissistic, "edgy" film that tries to convey an important message in a godawful way.
I will say that it is 99.9% likely that Phoenix nabs Best Actor for this one because he does undoubtedly put a lot into his performance and, by default, he's the best of the men currently nominated. Having said that, I wish he wasn't receiving it for playing a character whose foundations are harmful stereotypes and poor writing.
Overall rating: 6/10
6) 1917
Directed by: Sam Mendes
Starring: Dean-Charles Chapman, George MacKay
Also nominated for:
- Cinematography (Roger Deakins)
- Cinematography (Roger Deakins)
- Directing (Sam Mendes)
- Makeup and Hairstyling (Naomi Donne, Tristan Versluis and Rebecca Cole)
- Makeup and Hairstyling (Naomi Donne, Tristan Versluis and Rebecca Cole)
- Original Score (Thomas Newman)
- Production Design (Dennis Gassner and Lee Sandales)
- Sound Editing (Oliver Tarney and Rachael Tate)
- Sound Mixing (Mark Taylor and Stuart Wilson)
- Visual Effects (Guillaume Rocheron, Greg Butler, Dominic Tuohy)
- Original Screenplay (Sam Mendes and Krysty Wilson-Cairns)
This one really caught me by surprise. Admittedly, I am not the biggest fan of war movies: I find them bleak, uninteresting and difficult to watch, though I have found in recent years that I do enjoy some, such as Fury (2014).
However, I found 1917 to be entertaining. Is it a sensational war movie? Not particularly. Does it bring anything new to the table? Well...no. But I can say that the camerawork kept me intrigued the entire time, Thomas Newman's score (which some viewers found out of place) actually worked for me and there's something to be said about the intensely human feeling this film radiates. It deserves it's nominations for Visual Effects and Production Design, the latter being a win I wouldn't find unrealistic.
Overall rating: 7/10
However, I found 1917 to be entertaining. Is it a sensational war movie? Not particularly. Does it bring anything new to the table? Well...no. But I can say that the camerawork kept me intrigued the entire time, Thomas Newman's score (which some viewers found out of place) actually worked for me and there's something to be said about the intensely human feeling this film radiates. It deserves it's nominations for Visual Effects and Production Design, the latter being a win I wouldn't find unrealistic.
Overall rating: 7/10
5) The Irishman
Directed by: Martin Scorsese
Starring: Robert De Niro, Joe Pesci, Al Pacino
Also nominated for:
- Actor in a Supporting Role (Al Pacino and Joe Pesci)
- Cinematography (Rodrigo Prieto)
- Costume Design (Sandy Powell and Christopher Peterson)
- Actor in a Supporting Role (Al Pacino and Joe Pesci)
- Cinematography (Rodrigo Prieto)
- Costume Design (Sandy Powell and Christopher Peterson)
- Directing (Martin Scorsese)
- Film Editing (Thelma Schoonmaker)
- Film Editing (Thelma Schoonmaker)
- Production Design (Bob Shaw and Regina Graves)
- Visual Effects (Pablo Helman, Leandro Estebecorena, Nelson Sepulveda-Fauser and Stephane Grabli)
- Adapted Screenplay (Steven Zaillian)
I think, if The Irishman hadn't been nominated, there would have been a Joker-esque uprising in the form of avid film-goers frothing at the mouth and slamming their heads straight into their keyboards. So, it makes sense that it's up for Best Picture because, let's be honest: it's Martin Scorsese. The man is a legend.
In terms of the actual plot, I enjoyed The Irishman. I watched it back-to-back with Goodfellas (1990) first because I wanted to see how a) the actors' CGI holds up in comparison to actual footage of their younger selves and b) I liked the idea of having a Scorsese double bill to really get into that gangster movie mindset.
The acting in this film is so damn good, as expected: so good, in fact, two actors from the film are up for Supporting Actor (Al Pacino and Joe Pesci). If Pesci doesn't win it, I'll be absolutely shocked. He stole the show in every scene, truly embodied his character and delivered some of the best pieces of dialogue.
The only big issue I had with The Irishman is its pacing. For a Scorsese film, one that is expected to be at least three hours long, I was disappointed to find that it dropped the ball in places. I wouldn't say I ever experienced boredom but the momentum of certain scenes definitely slowed to a snail's pace and became a bit arduous to watch. It won't win Best Picture but it's certainly a wonderful film, one that truly reflects Scorsese's talents.
Overall rating: 7/10
I think, if The Irishman hadn't been nominated, there would have been a Joker-esque uprising in the form of avid film-goers frothing at the mouth and slamming their heads straight into their keyboards. So, it makes sense that it's up for Best Picture because, let's be honest: it's Martin Scorsese. The man is a legend.
In terms of the actual plot, I enjoyed The Irishman. I watched it back-to-back with Goodfellas (1990) first because I wanted to see how a) the actors' CGI holds up in comparison to actual footage of their younger selves and b) I liked the idea of having a Scorsese double bill to really get into that gangster movie mindset.
The acting in this film is so damn good, as expected: so good, in fact, two actors from the film are up for Supporting Actor (Al Pacino and Joe Pesci). If Pesci doesn't win it, I'll be absolutely shocked. He stole the show in every scene, truly embodied his character and delivered some of the best pieces of dialogue.
The only big issue I had with The Irishman is its pacing. For a Scorsese film, one that is expected to be at least three hours long, I was disappointed to find that it dropped the ball in places. I wouldn't say I ever experienced boredom but the momentum of certain scenes definitely slowed to a snail's pace and became a bit arduous to watch. It won't win Best Picture but it's certainly a wonderful film, one that truly reflects Scorsese's talents.
Overall rating: 7/10
4) Jojo Rabbit
Directed by: Taika Waititi
Starring: Roman Griffin Davis, Scarlett Johansson, Taika Waititi, Sam Rockwell
Also nominated for:
- Actress in a Supporting Role (Scarlett Johansson)
- Costume Design (Mayes C. Rubeo)
- Actress in a Supporting Role (Scarlett Johansson)
- Costume Design (Mayes C. Rubeo)
- Film Editing (Tom Eagles)
- Production Design (Ra Vincent and Nora Sopková)
- Adapted Screenplay (Taika Waititi)
When I heard about this film, I was immediately sceptical. Satire, especially within our political climate, is a touchy subject: offended critics are more commonplace now than tumbleweeds in the Film subreddit threads. So, it came as a pleasant surprise to me when I sat down to watch this film and found it to perfectly balance comedy and tragedy, considering it's set in Nazi Germany.
I'm glad this earned itself a spot amongst the other nominees because I think, if judged purely on face value, it would've been overlooked. Nazism, something that has resurged in recent years, is something that we don't particularly want to see on our big screens, especially if it's coming from filmmakers trying to justify the use of them. But given that Waititi himself is a Polynesian, Jewish man playing Hitler (which he describes in various interviews as being the ultimate "fuck you" to Hitler and the Nazis' legacy), it's safe to say that there is no point in Jojo Rabbit where that part of history is celebrated (moreover it is parodied, mocked and harshly berated, as it should be).
Not surprisingly, it hasn't been nominated for a great deal of categories (despite the performances being hilarious) but I will say that if ScarJo is going to have to win something, I'd rather she get her award for her supporting role in Jojo than her lead role in Marriage Story.
Overall rating: 8/10
It will probably come as a complete shock to a few of you that I put "that car movie" at number three on my ranked list. It came as a shock to me too, if I'm honest. I went into this knowing nothing about the film and only having a sub-par interest in Ford or Ferrari as companies (my favourite sports car is made by Volkswagen, for Christ's sake).
However, this film has such heart: tonally, it felt like a warm, nostalgic hug from your gearhead dad. The writing is cliché in places, and despite it being biographical, it is predictable. But I found myself not caring about the technicalities, which was a first for me. I've been watching and analysing all of these films but for Ford v Ferrari, I just sat back and enjoyed the ride, really unphased by all of its technical flaws.
The fact that Christian Bale was not nominated for Supporting Actor is an absolute oversight on the committee's behalf. Sure, it was no Pesci performance, but it was damn good. If anything, I'll be even more shocked if this doesn't get Sound Mixing because the sound of this film was sensational.
To be frank, the only reason Ford v Ferrari secured it's position at number three on this list is that I liked it ever so slightly more than Jojo Rabbit: otherwise both of them would be tied for third place.
Overall rating: 8/10
When I heard about this film, I was immediately sceptical. Satire, especially within our political climate, is a touchy subject: offended critics are more commonplace now than tumbleweeds in the Film subreddit threads. So, it came as a pleasant surprise to me when I sat down to watch this film and found it to perfectly balance comedy and tragedy, considering it's set in Nazi Germany.
I'm glad this earned itself a spot amongst the other nominees because I think, if judged purely on face value, it would've been overlooked. Nazism, something that has resurged in recent years, is something that we don't particularly want to see on our big screens, especially if it's coming from filmmakers trying to justify the use of them. But given that Waititi himself is a Polynesian, Jewish man playing Hitler (which he describes in various interviews as being the ultimate "fuck you" to Hitler and the Nazis' legacy), it's safe to say that there is no point in Jojo Rabbit where that part of history is celebrated (moreover it is parodied, mocked and harshly berated, as it should be).
Not surprisingly, it hasn't been nominated for a great deal of categories (despite the performances being hilarious) but I will say that if ScarJo is going to have to win something, I'd rather she get her award for her supporting role in Jojo than her lead role in Marriage Story.
Overall rating: 8/10
3) Ford v Ferrari
Directed by: James Mangold
Starring: Matt Damon, Christian Bale, Caitriona Balfe
Also nominated for:
- Film Editing (Michael McCusker and Andrew Buckland)
- Sound Editing (Donald Sylvester)
- Sound Mixing (Paul Massey, David Giammarco and Steven. A Morrow)
- Sound Editing (Donald Sylvester)
- Sound Mixing (Paul Massey, David Giammarco and Steven. A Morrow)
It will probably come as a complete shock to a few of you that I put "that car movie" at number three on my ranked list. It came as a shock to me too, if I'm honest. I went into this knowing nothing about the film and only having a sub-par interest in Ford or Ferrari as companies (my favourite sports car is made by Volkswagen, for Christ's sake).
However, this film has such heart: tonally, it felt like a warm, nostalgic hug from your gearhead dad. The writing is cliché in places, and despite it being biographical, it is predictable. But I found myself not caring about the technicalities, which was a first for me. I've been watching and analysing all of these films but for Ford v Ferrari, I just sat back and enjoyed the ride, really unphased by all of its technical flaws.
The fact that Christian Bale was not nominated for Supporting Actor is an absolute oversight on the committee's behalf. Sure, it was no Pesci performance, but it was damn good. If anything, I'll be even more shocked if this doesn't get Sound Mixing because the sound of this film was sensational.
To be frank, the only reason Ford v Ferrari secured it's position at number three on this list is that I liked it ever so slightly more than Jojo Rabbit: otherwise both of them would be tied for third place.
Overall rating: 8/10
2) Little Women
Directed by: Greta Gerwig
Starring: Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen
Also nominated for:
- Actress in a Leading Role (Saoirse Ronan)
- Actress in a Supporting Role (Florence Pugh)
- Costume Design (Jacqueline Durran)
- Original Score (Alexandre Duplat)
- Actress in a Leading Role (Saoirse Ronan)
- Actress in a Supporting Role (Florence Pugh)
- Costume Design (Jacqueline Durran)
- Original Score (Alexandre Duplat)
- Adapted Screenplay (Greta Gerwig)
What can I say? I like women in period clothing: my love of The Favourite (2018) should've been a clear indicator of that.
Little Women, as both a concept and a story, has been done ten times over. I have seen two other adaptations and I have read the original source material. And guess what? This is the best version of the book I have ever seen. It's dramatic, it's funny, it's poignant, every single female actress is stellar...it cannot be faulted.
There is only one issue with this nominee and that is that it's somehow in the Best Picture category and not the Directing one as well. The Academy have already come under fire in the last decade for their dismissal of female directors (with only two being nominated since 2010 and only five in the history of the Oscars), so their exclusion of Gerwig is, to say the very least, appalling. It makes me wonder whether her biting social commentary throughout the film, lecturing men on their inability to recognise women as their equals, bruised some male egos at the Academy.
Overall rating: 9/10
What can I say? I like women in period clothing: my love of The Favourite (2018) should've been a clear indicator of that.
Little Women, as both a concept and a story, has been done ten times over. I have seen two other adaptations and I have read the original source material. And guess what? This is the best version of the book I have ever seen. It's dramatic, it's funny, it's poignant, every single female actress is stellar...it cannot be faulted.
There is only one issue with this nominee and that is that it's somehow in the Best Picture category and not the Directing one as well. The Academy have already come under fire in the last decade for their dismissal of female directors (with only two being nominated since 2010 and only five in the history of the Oscars), so their exclusion of Gerwig is, to say the very least, appalling. It makes me wonder whether her biting social commentary throughout the film, lecturing men on their inability to recognise women as their equals, bruised some male egos at the Academy.
Overall rating: 9/10
1) Parasite
Directed by: Bong Joon Ho
Starring: Kang-ho Song, So-dam Park, Woo-sik Choi, Jeong-eun Lee
Also nominated for:
- Directing (Bong Joon Ho)
- Film Editing (Yang Jinmo)
- International Feature Film
- Film Editing (Yang Jinmo)
- International Feature Film
- Production Design (Lee Ha Jun and Cho Won Woo)
- Original Screenplay (Bong Joon Ho and Han Jin Won)
I should not have to explain the reason why Parasite is on the top of the list but, for those of you who haven't seen it yet, here's why: it is amazing. Gorgeous cinematography, great acting (despite none of them getting a nomination for it), darkly comical yet intense and overall a fucking great viewing.
This film has such a threatening yet entertaining aura about it: basically the antithesis of Ford v Ferrari. And it works. It has the pleasantness of Okja (2017) and the potency of Snowpiercer (2013). The fact that it's up for International Feature Film and Best Picture is a clear sign that the Academy is making some improvements; in 92 years of the Oscars, only 10 films have ever been nominated for both of these categories.
It would make history to see Parasite win, though it's very clear that the Oscars needs a film like Parasite whereas the case is not the same vice versa: I very much doubt Joon Ho requires the approval of a bunch of white American men, as he clearly knows his worth and is very dedicated to his craft. Having said that, this is my pick for Best Picture and I will be crying tears of shame once again if it doesn't win.
Overall rating: 8/10
- K
I should not have to explain the reason why Parasite is on the top of the list but, for those of you who haven't seen it yet, here's why: it is amazing. Gorgeous cinematography, great acting (despite none of them getting a nomination for it), darkly comical yet intense and overall a fucking great viewing.
This film has such a threatening yet entertaining aura about it: basically the antithesis of Ford v Ferrari. And it works. It has the pleasantness of Okja (2017) and the potency of Snowpiercer (2013). The fact that it's up for International Feature Film and Best Picture is a clear sign that the Academy is making some improvements; in 92 years of the Oscars, only 10 films have ever been nominated for both of these categories.
It would make history to see Parasite win, though it's very clear that the Oscars needs a film like Parasite whereas the case is not the same vice versa: I very much doubt Joon Ho requires the approval of a bunch of white American men, as he clearly knows his worth and is very dedicated to his craft. Having said that, this is my pick for Best Picture and I will be crying tears of shame once again if it doesn't win.
Overall rating: 8/10
- K
