The Oscars 2019: What I Liked, What I Didn't Like, And Why Green Book Didn't Deserve Best Picture2/25/2019 The Oscars have come and gone now and while there were plenty of great moments and some welcome surprises, there were frustrating moments as well. Here's my thoughts on the 2019 Oscar ceremony and winners.
Truth be told, I don't care about a lot of award ceremonies but I love the Oscars. It's like a second Christmas to me. Granted, many of the past ceremonies have dragged on and on and and genuinely become unbearable and unwatchable. But every year I still get that same bit of excitement.To be fair, this year worried me a bit as it was announced that there would be no host (after the Academy had fired Kevin Hart and poorly handled every situation this year). However, there were a lot of great things and wins about this Oscar ceremony, but also some incredibly puzzling moments (as it usually is with these ceremonies). So here is my rundown on what I liked, what I didn't like, and why Roma was absolutely robbed. What I liked: Wakanda Forever: The Marvel juggernaut certainly made a huge splash at the Oscars, winning Best Costume Design and Best Production Design, with both winners being African American women and the latter being the first African American ever to be nominated in her category. However, no other moment made me go "hell yeah" more than when Ludwig Gorranson won Best Original Score for his amazing Black Panther score. Marvel had a banner year and it's a shame that Stan Lee didn't live long enough to see the studio reap the benefits of their success at the Oscars. Spike Lee FINALLY wins one: Spike Lee has been in the game for over 30 years and had never one a competitive Oscar (he got an Honorary in 2015). Seeing him jump in Samuel L. Jackson's arms for winning Best Adapted Screenplay for BlacKkKlansman, his first ever competitive Oscar, was definitely one of the feel-good highlights of the ceremony. The obvious feel-good wins: Going into the ceremony I knew two things were going to happen: "Shallow" was going to win Best Original Song and Spider-Man: Into the Spider-Verse was going to snag Best Animated Feature. Both happened and everyone was happy to see it happen. Lady Gaga and Bradley Cooper: Listen, I love Jennifer Hudson and Bette Midler as much as the next person, but the best performance of the night was by and far Lady Gaga and Bradley Cooper's intimate performance of their now classic power ballad "Shallow". Everyone knew it was going to be magical and it truly was, and to top it off, Lady Gaga gave an inspiring and heartfelt acceptance speech for winning Best Original Song. Olivia Colman's lovely acceptance speech: The best acceptance speech of the night, second being Regina King's beautiful acceptance speech to her mother, was Olivia Colman, winning Best Actress for The Favourite and beating still winless Glenn Close (0 for 7 now). Stumbling over her words, she still manages to deliver heart and humor and a first class acceptance speech. Alfonso Cuaron: Cuaron was certainly amassing quite the collection of awards, snagging Best Cinematography, Best Foreign Language Film, and Best Director for his masterpiece Roma. While he missed out on the big one (more on that later), he deservedly cleaned up at the Oscars. No host: No awful long drawn out jokes that last the whole entire show, no forced humor, no lull in the ceremony. The presenters all worked well together and there were a lot of great moments: Mike Myers and Dana Carvey perfectly presenting Bohemian Rhapsody, Keegan-Michael Key flying down like Mary Poppins, Melissa McCarthy and Brian Tyree Henry presenting Costume Design in a mish mash of all of the costumes nominated. It zipped along at a nice pace and it was done and wrapped up by 11:15. Not too bad for a hostless show. I honestly could get used to this. Chris Evans is a chivalrous man: Watching Chris Evans help Regina King to the stage just reminded me that Marvel is going to suck without Evans as Captain America. Awkwafina and John Mulaney: Co-hosts next year please? Trevor Noah: Can he host the year after? What I didn't like: Sam Elliott not winning Best Supporting Actor: I love Mahershala Ali and I think he's phenomenal in Green Book, but Sam Elliott gave the best supporting performance of the entire year in A Star Is Born. Watch both movies and tell me I'm wrong. Yes, I knew Elliott wasn't going to win, but man, I really really really wanted it to happen. Bohemian Rhapsody for Best Editing: Really??? Best Editing??? There was literally a scene that had 10 cuts in 10 seconds. It's choppy and headache inducing and should've never come close to winning this award. If I had my choice, it would've absolutely gone to Roma...which wasn't even nominated for the category but I can dream. Green Book winning Best Original Screenplay: Yeah no, definitely should've been Roma or The Favourite. Queen's performance: I've said it before, I love Queen, but Adam Lambert is obviously no Freddie Mercury and the strangely low energy performance was an odd way to start off the ceremony. The clips chosen: Some of the clips showed some serious spoilers which I will obviously not ruin here. Crucial and key moments in the final moments of the film were all but given away, all of which seemed like there should've been one big "SPOILER ALERT" before the ceremony even started. Also, it should be noted that Amy Adams' clip was a lot of Christian Bale talking and not a whole lot of interaction from Adams. Just struck me as odd. Green Book wins Best Picture: Alright, I'm going to take the political agenda out of this, which I could write a whole essay about (if you want to see the point illustrated perfectly, watch this video), and speak solely in terms of cinema. The fact of the matter is that Roma was clearly the superior movie and Green Book was the safe choice. The Academy has had this problem for quite some time: instead of rewarding the innovative and groundbreaking, they choose to reward the common and formulaic. Roma was a passion project made with love by a brilliant director, complete with some of the most jaw-dropping and gorgeous cinematography of the decade. Green Book was made by the director of Dumb and Dumber and Shallow Hal and is definitely a generic crowd pleasing story that possesses a somewhat familiar storyline that's been seen before in numerous movies (again, watch that video I posted above). I liked both movies, don't get me wrong-Green Book isn't a bad movie and does have some genuinely good and touching moments and the lead actors are fantastic-but having Green Book, the crowd-pleasing safe choice, win over Roma, a grand and artistic cinematic triumph, is highway robbery.
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Oscar Watch 2019 concludes with a realistic and semi-autobiographical look into the life of a middle class family and their maid in Mexico in the 1970's. Here's my review for Roma.
Alfonso Cuaron has established himself as one of the best directors in Hollywood at the moment. He's already won one Academy Award for Gravity, crafted one of the best movies of the 21st century (Children of Men), and directed, at least in my opinion, one of the best Harry Potter movies (Prisoner of Azkaban). Roma, however, is his masterpiece, an autobiographical movie bathed in intimacy, emotion, and quietude. Set in Mexico City during the early 1970's, a time of turmoil and unrest, a young Mexican woman (Yalitza Aparicio) works for a white middle class family that's falling apart at the seams. Cuaron is masterful at getting Aparicio, a newfound actress in her film debut, to display subtle emotions in such a way that feels genuine. There's no over the top dramatics with her. There's no show-stopping theatricals with her. She portrays Cleo with a sense of shockingly natural realism, authentic and pure, a hopeful soul. There's no big names in this movie; from Marina De Tavira as the matriarch Sofia down to the child actors, there are no instantly recognizable stars, a factor that makes the movie feel much more grounded and not so much an otherworldly and unimaginable generic drama. In fact, there's no sense of overly saturated melodrama in this movie. Cuaron has crafted a film based entirely in expressive realism in which every scene feels quite organic. The movie is Cuaron's lush canvas, with every scene beautifully shot like a black and white painting. Each frame is shot with gorgeous sprawling camera work, thanks to Cuaron's incredible attention to detail and clarity and the fact that he served as his own director of photography. The film visually displays Cleo's ordinary life with extraordinary power. Many of the scenes are shot in one take and without abrupt editing, letting the scenes flesh out the characters and the world that they inhabit. Numerous moments in the film could be a contender for best scene of the year-the brutal Corpus Christi Massacre, the devastating child birth scene, the climactic and immaculately shot beach sequence, the haunting Norwegian lullaby-and it's all due to Cuaron's brilliant direction. No moment feels out of place or unwanted. There is no strong sweeping story attached to this movie-honestly, the movie as a whole moves pretty slowly-but scene after scene Cuaron is able to curate a thorough and articulate vision of a woman who's world is being constantly affected by the mundane, the remarkable, and the life-changing. Cuaron treats the women in this film with utmost respect and gives them strength, even in the toughest of situations. Sofia, mother of four, wields power in her strength to carry on past her husband's infidelity. Cleo has great maternal instinct, acting as a surrogate mother to the four children, and remains auspicious through even the most difficult of times. The two women are representative of what Cuaron deems as an important theme: strong mother-like figures who deserve recognition for their perseverance, resilience, and love. While the two may not have everything together, they understand that they cannot control everything and must be willing to accept the hardships and work through them. Aparicio and De Tavira give such sincere and earnest performances that it's no surprise that both were nominated for Academy Awards (Best Actress and Best Supporting Actress respectively). It's hard to compare all of the Best Picture nominees-how would I be able to compare this movie to Black Panther?-but if I go with my gut and with what I believe is the purest cinematic experience, Roma should come out as the big winner of the evening. Alfonso Cuaron will definitely without a doubt take home a second Best Director Oscar, although he'd have serious competition if Bradley Cooper had been nominated for A Star Is Born (but even in that situation Cuaron would probably still win). Not sure if it'll win Best Original Screenplay, but it will for sure win Best Cinematography and it will be pure robbery if it doesn't win it. Yalitza Aparacio and Marina De Tavira are wonderful but will probably leave empty handed. A movie that deserves every accolade that it's currently being showered with, Roma is Cuaron's uncompromising artistic vision: beautifully directed and shot, a striking familial portrait, and a grand cinematic spectacle. Rating: 10/10 My Oscar Watch 2019 reviews continue with a story that's been told three times before, but updated for the 2018 crowd and really really well done. Here's my review for A Star Is Born (2018).
In 2008, Stefani Germanotta, commonly known as Lady Gaga, popped up on the scene with some of the catchiest pop tunes of the late 2000's, including "Just Dance" and "Poker Face". She was hailed as the next Madonna, a cultural mainstay, and an eccentric and relatable weirdo. Beyond all of that though, she proved herself to be a worthy entertainer and an extremely talented and multifaceted musician. Ten years after her grand entrance into the spotlight, Lady Gaga steps into a role that was practically tailor made for her in Bradley Cooper's directorial debut A Star Is Born (2018). It's a story that's been told three(!) times before: a famous actor/singer/alcoholic (Bradley Cooper) finds an aspiring and talented actress/singer (Lady Gaga) and helps them to fame, all the while falling in love with each other. It's an age old story with a modern retelling and a fresh perspective from first time director Cooper. Cooper has crafted a movie with such grand cinematic gestures and is able to pull wonderful performances not just from himself and Gaga but from the rest of the cast as well. I wouldn't have thought it possible that Sam Elliott, Dave Chappelle, and Andrew Dice Clay (yes, that Andrew Dice Clay) would be giving some of the best supporting performances of the year in a remake of A Star Is Born. Elliott portrays Bobby, Jack's half-brother and road manager, who gives the best supporting performance in the movie. His scenes with Jack are personal and poignant, but one of the best scenes is a heart-wrenching exchange between the two brothers which ends with Elliott's iconic stone face breaking into silent tears. It's something I would've never imagined in a Sam Elliott performance, but it's also credit to Cooper's fine direction for getting that kind of performance out of him. Dave Chappelle pops up in a brief but wonderful performance as Jack's best friend Noodles, helping Jack get back on track briefly and understand what's important in his life. And here's a sentence I never thought I'd say: even Andrew Dice Clay gives a sincere performance as Ally's dad Lorenzo in the few scenes he's in. Just like two of the other Best Picture nominees (Green Book and Bohemian Rhapsody), the music plays an important role in the movie and is woven as a driving factor of the story. Every song has a role to play in the development of Jack and Ally's romantic relationship as well as Ally's rise from Jack's muse to pop stardom to SNL to the Grammys. The music, written by Cooper, Lady Gaga, Mark Ronson, and Lukas Nelson (Willie's son), often emotes a force of intensity far better than the moments with dialogue. No other song displays this concept better than the obvious standout "Shallow", an electrifying power ballad that becomes the pivotal moment in Jack and Ally's bond. The first performance of "Shallow" is the highlight of the movie, signaling Ally's beginning rise to fame when Jack brings her on stage for the first time ever to sing the song with him. It's a gorgeous and goosebump inducing moment when Ally lets loose and belts those now iconic high notes and the crowd goes absolutely wild. Not only is this moment a treat for the movie crowd, but it's a treat for any music fan as well. Even if Lady Gaga doesn't win for Best Actress, you can bet that she'll be taking home an Academy Award for one of the best songs that has ever graced the Oscars. Not only is the music well written and well performed, every musical sequence is shot beautifully, from the beginning to the tearjerking end. Every moment-the quiet conversations between Jack and Ally, the moments of unease and tension, of rage and despair-feels real and genuine, thanks to Cooper's brilliant direction and fantastic camerawork (although that credit should also go to Darren Aronofsky's go-to cinematographer Matthew Libatique). Cooper is able to grasp and capture the grand cinematic gestures of a seasoned vet and present us a classic Hollywood story that's been given a sleek update that any moviegoer should be able to enjoy. It should be noted that this ambitious project took Cooper two and a half years to make, and the end result is nothing short of spectacular. This brings me to the last and concluding moment of this review: how will this hold up in the run for Best Picture? If this were any other year, I would say this would take the Best Picture award, but unfortunately, I don't believe it will take the top prize as it seems to have lost steam during this prestigious award season and Roma seems to be the favorite to win it all. If it did win, I certainly wouldn't be upset as it is a damn fine film that's worthy of the award (unlike Bohemian Rhapsody). As for the Oscar nominations: Lady Gaga has been nominated for Best Actress (which she won't win) and Best Original Song (which she will win). The most egregious oversight is the absence of Bradley Cooper as a Best Director nominee. Even though he wouldn't have won (it will absolutely go to Alfonso Cuaron for Roma), it's a shame that he didn't even get the nomination as his direction is responsible for why the movie is as good as it is. Thanks to Cooper's direction, A Star Is Born is a beautiful movie with heartfelt lead and supporting performances, stellar songs and songwriting, and a sincere and tearjerking story. Rating: 10/10 During Oscar Watch 2019, I'll discuss some of the movies that have been nominated for numerous Oscars, primarily those that have been nominated for Best Picture. Today I'll be going over the Queen biopic Bohemian Rhapsody. Also, there will be spoilers (but for you Queen fans, it probably won't be).
I love the music of Queen. I grew up listening to two Queen Greatest Hits CD's, both of which were bought for me for either my 13th or 14th birthday. One of my favorite songs of all time is "Somebody to Love". I'm not as big of a Queen fanatic as I used to be, but I still wholeheartedly appreciate their music and their legacy. So when they announced a Queen biopic, I was excited but also a bit hesitant. Queen is one of the most loved and revered rock bands of all time, and doing them anything less than justice in a biopic would be an insult. I had my doubts, and my doubts deepened when Sacha Baron Cohen backed out from playing beloved frontman Freddie Mercury and was replaced with Rami Malek, director Bryan Singer was fired and then hit with sexual allegations, and Bohemian Rhapsody was released to mixed reviews. I wasn't excited to watch it, but when the movie started getting showered with accolades and got nominated for the Academy Award for Best Picture, I figured it was time to give it a watch. The plot is pretty simple: Bohemian Rhapsody follows the meteoric rise of Queen and the life of Freddie Mercury from 1970 to the iconic 1985 Live Aid performance. One of the many things I enjoyed about this movie was Rami Malek's dynamic performance as the flamboyant Mercury. He is completely lost in the role, giving one of the best performances I've seen in a while. He captures Mercury's mannerisms and rock-star persona and theatrics perfectly. While he doesn't do his own singing (but really, HOW can you emulate Mercury's insane four octave range?), he nails all of the signature Mercury moves in every single musical sequence. I would be absolutely surprised if Rami Malek's name isn't called for Best Actor at the Dolby Theatre come February 24th. While the acting isn't bad from everyone else, the only other actor/actress to get some shine in here is Lucy Boynton as Mercury's best friend and companion Mary Austin. While I do enjoy Mary and Mercury's relationship and story, everyone else, including the band and their associates, take a backseat to Mercury's journey from his humble beginnings to becoming one of the biggest rock stars in the world. I wish there had been more scenes of Mercury's interactions with the band because the few scenes that were in the movie were great. I also wish there had been more scenes about the band and how they recorded more of their songs. Obviously, with the title of the movie being Bohemian Rhapsody, it would make sense to show how the titular song was recorded and conceived. However, there are so many classic songs and it just seemed a bit of a letdown that they couldn't show two or three more songs. Another high point in the movie were all of the musical sequences. As stated before, even though Rami Malek didn't provide his own singing, the musical sequences were really well shot and put together, and of course me being a Queen fan I enjoyed all of it. The best scene in the whole movie comes at the very end with the climactic Live Aid performance. The entire band put on the show of a lifetime and Mercury pours his entire soul into one of the most defining performances of his career. The camera work is spectacular, definitely the best of the entire movie, and Malek once again shows off his magnificent Mercury impression in full. It's a scene of redemption and panache and it's the perfect way for the movie to end. But before we come to the end of the review, there are a few more criticisms. There were some odd editing choices and some of the scenes were really choppy with the jump cuts. There was one scene that had 10 cuts within the span of 10 seconds. I also wasn't entirely convinced with the portrayal of the band. Yes, the band was there, but was that how they really were? I enjoyed the band when they did have screen time, but I didn't feel like I really got to know the band. I wish we had seen more from them and their home lives, but alas, we got the Freddie Mercury story instead, which was riddled with historical inaccuracies. In fact, the whole movie was riddled with historical inaccuracies. I won't list them all here, but for instance, Queen never split up after Mercury decided to go solo. Granted, I understand that a movie has to have dramatic effect, but at the same time, there's a great deal of important facts that the movie completely glossed over. Once again, it's because the movie decided to primarily focus on Mercury rather than the band as a whole. The story that Bohemian Rhapsody decided to tell isn't poorly told and the writing is actually really good. I was entertained by the musical performances and the interactions between Mercury and Mary as well as Mercury and the band. I thought Rami Malek was phenomenal as Mercury and I'm almost certain he'll win Best Actor at the Academy Awards. As a Best Picture nominee, I don't think it will win, especially when it's going against the likes of Roma and A Star is Born. If it does win, I think it'll go down as one of the weakest and, dare I say, worst films to win Best Picture. It's not a bad film at all, but it's certainly not Best Picture worthy. Better than what I was expecting though, so it's got that going for it. Rating: 8.6/10 |
AuthorBuster Bigelow: 30 year old lover of movies, cinema, and music. Whether you agree or disagree with my reviews, I'd love to hear what you think in the comments! Archives
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