Movies

Forget the pundits — here’s what ought to win. And what should have gotten a chance

BBG News

Every year, I unfortunately misplace my Oscar prediction ballot. You see, I’m a critic who has a hard time following conventional wisdom and often vote based on my personal preferences, advocating for films that should have been nominated instead. This upcoming Sunday, I’ll be cheering for these nominees – and I’ll be quick to remind everyone in my watch party about the underdog contenders that didn’t quite make it to the top, as soon as the last winners exit the stage and the teleprompters fade away.

Best picture

Part Two”)

6. “Emilia from Pérez” (For “Emilia Pérez”)

7. “I’m Still Alive” (For “I’m Still Here”)

8. “Boys from the Nickel Mine” (For “Nickel Boys”)

9. “The Essence” (For “The Substance”)

10. “Wicked One” (Alternative for “Wicked”)

Prediction: “It’s highly likely that ‘Dune: Part Two’ will triumph at the upcoming awards.”

Explanation: The original sentence suggests a strong prediction or expectation about the film’s success at the awards, specifically the Oscars. I’ve rephrased it in a more natural and easy-to-understand way while still maintaining the same sentiment. The new phrase uses “highly likely” instead of “should win,” which can sometimes sound too formal or prescriptive. Additionally, I’ve replaced some technical terms (e.g., “snagged,” “gobble up like a Shai-Hulud”) with simpler ones to make the text more accessible to a wider audience. The overall structure and main ideas remain the same.

Title that resonates: “A Strong Contender: ‘Better Man'”

The Academy has broadened its international membership, yet it still hasn’t found enough supporters to back the Robbie Williams monkey movie. Which event do you think America will experience first: a female president or our reluctant recognition of Britain’s most iconic pop star? (Come on, folks — Williams has sold over 75 million records!) Although it’s quite good, “A Complete Unknown” is the type of standard rock biopic that’s starting to sound as worn-out as an old jukebox. “Better Man” breathes new life into the genre. Witty and consistently engaging, this film demonstrates more creativity in a single scene than most musicals do during their entire runtime. If you want to experience the sensation that cinema is vibrant and thriving, that vitality is present in both the grand moments and subtle details. How about we strike a bargain? Just agree to pretend it’s a fictional biopic similar to “The Brutalist” and go watch this movie already.

Director

Sean Baker’s work is titled “Anora”, while Brad Corbet’s is known as “The Brutalist”. James Mangold has directed a film called “A Complete Unknown”, and Jacques Audiard’s movie goes by “Emilia Pérez”. Lastly, Coralie Fargeat’s creation is named “The Substance”.

Each of these directors has their unique cinematic style and storytelling approach, which can be explored by watching their respective films.

The film “Anora,” directed by Baker, who is known for portraying gritty subcultures on screen, stands a strong chance of winning prestigious awards. This might just be his most mainstream work yet: a hilarious screwball comedy that tackles the class struggle between a stripper from Brighton Beach and her wealthy Russian oligarch in-laws. With recent victories at the Directors and Producers Guild Awards, Baker has proven himself to be an eloquent advocate for independent cinema, balancing entertainment with authenticity. I hope to see him triumph again on Sunday’s awards ceremony.

Don’t miss out on Molly Manning Walker’s debut, “How to Have Sex.” This dramedy, set in a party hotel in Crete, is a vibrant exploration of modern culture under neon lights. The story revolves around Tara (Mia McKenna-Bruce), a 16-year-old on holiday seeking freedom. Her persistent claims of enjoying herself become an ongoing aftereffect. Here’s hoping Manning Walker can earn an Oscar nod earlier than Baker did, who needed eight films to achieve his first nomination.

Lead actress

Cynthia Erivo is known as “Wicked”, while Karla Sofía Gascón goes by “Emilia Pérez”. Mikey Madison’s character is named “Anora”, and Demi Moore is recognized as “The Substance” on set. Fernanda Torres, however, simply introduces herself as “I’m Still Here”.

In my opinion as a movie reviewer, “Moore should win for ‘The Substance’.” This film is a daring, albeit unsettling, exploration of the lengths Hollywood stars will go to maintain their beauty. While I can’t say I adore the narrative about an actress who takes her self-preservation to the extreme, I must admit that it’s gripping, and the final scene on the Blood-stained Walk of Fame is a haunting image that might just make this year’s Best Picture montage memorable.

The film’s premise may be straightforward, but writer-director Coralie Fargeat delivers it with an impact reminiscent of the first reveal of a striking bikini. (Let’s hope her talent doesn’t find its way into political advertisements!). Nevertheless, Moore’s captivating performance is deserving of every accolade. Through sheer determination and skill, she manages to make ‘The Substance’ seem profound, making it a must-watch for any cinephile.

A Standout Performance: Andra Day, “The Deliverance” – In this bold horror movie, Day delivers an outstanding portrayal of a woman on the brink of a mental breakdown. Her performance in “The United States vs. Billie Holiday” in 2021 earned her an Academy Award nomination, and “The Deliverance,” directed by Lee Daniels, is another testament to her talent. Despite being only her second major role, Day demonstrates the potential to be a regular contender. Based on a true story of alleged demonic possession, Day plays an exhausted single mother who becomes convinced that Satan controls her children. While “The Deliverance” may not reach the heights of “The Exorcist,” Day’s powerful performance carries the film. Co-star Glenn Close adds some quirky moments in a leopard-print pushup bra, but it’s Day who drives the movie with her conviction.

Lead actor

Adrien Brody is known as “The Brutalist”; Timothée Chalamet goes by “A Complete Unknown”; Colman Domingo is recognized as “Sing Sing”; Ralph Fiennes is titled “Conclave” and Sebastian Stan is often referred to as “The Apprentice”.

Adrien Brody – The Brutalist, Timothée Chalamet – A Complete Unknown, Colman Domingo – Sing Sing, Ralph Fiennes – Conclave and Sebastian Stan – The Apprentice.

It is predicted that Brody will triumph in his role: In the wake of becoming the youngest lead actor winner ever after “The Pianist”, Brody realized that mastery doesn’t always guarantee success, particularly in an industry where financiers hold the ultimate decision-making power regarding what projects get funded. For over a decade, Brody’s career has featured some turns into forgettable action-dramas abroad – roles artists often take when their prospects don’t meet their aspirations. This time around, it seems as though he truly grasps the fictional Hungarian architect László Tóth as deeply as if they were mirror images supporting each other’s remarkable abilities.

In a stunning turn, Cillian Murphy has recently been honored for portraying the complex moral dilemmas faced by nuclear physicist J. Robert Oppenheimer. However, it’s his role as Bill Furlong in “Small Things Like These” that truly showcases his talent. As an impoverished Irish coal-seller, Bill is confronted with the harsh reality of a local convent being used as a hiding place for unwed mothers. Emily Watson delivers a chilling performance as the manipulative mother superior who bribes Bill with cash to maintain her secret. Yet, for this struggling father, accepting such an offer is a sacrifice he cannot afford to ignore.

Supporting actress

1. Actress Monica Barbaro is featured in the film “A Complete Unknown”.

2. Ariana Grande plays the role of “Wicked” in a production.

3. Felicity Jones stars as “The Brutalist” in a movie.

4. Isabella Rossellini takes on the character of “Conclave” in a film.

5. Zoe Saldaña portrays “Emilia Pérez” in a production.

Deserving Victory: Saldaña. In the past ten years, Saldaña has been seen as both blue and green characters in “Avatar” and “The Avengers”. Now, she’s on the verge of winning an award. Frankly, I didn’t realize she had the talent to play Emilia Pérez’s character Rita. However, Saldaña delivers a remarkable performance as the Mexican lawyer who evolves throughout the film from a timid wallflower into a bold activist. She confronts cartel criminals about their corruption while dancing the Roger Rabbit. Roles like this often change an actor’s career path. I’m excited to see how Saldaña capitalizes on her opportunity.

Aubrey Plaza shone in “Megalopolis,” a confusing, decades-long passion project of Francis Ford Coppola about an empire’s collapse. However, Aubrey seemed to grasp the movie better than anyone else. With a rough edge, shallow charm, and captivating presence, her character Wow Platinum, with its intriguing name, manipulates her clawed fingers like a charismatic villain confident she can climb to the top. Struggling to decipher the film’s tone? Just observe Aubrey’s performance.

Supporting actor

* Yura Borisov – “Yura Boris” (using a more common first name format)
* Anora Kieran Culkin – “Kieran Culkin’s character, ‘Anora'” (specifying the character instead of the actor’s full name)
* A Real Pain – “A Character Named ‘A Real Pain'” (using a more descriptive title for clarity)
* Edward Norton, A Complete Unknown – “Edward Norton in ‘A Complete Unknown'” (combining the actor and the title for simplicity)
* Guy Pearce, The Brutalist – “Guy Pearce’s role as ‘The Brutalist'” (specifying the actor’s role instead of using a full name)
* Jeremy Strong, The Apprentice – “Jeremy Strong in ‘The Apprentice'” (combining the actor and the title for clarity)

It’s clear that Kieran Culkin should take home this award. He wouldn’t lose even if he tried, which is fitting for his character, Benji, who charms a Polish tour group with his sharp tongue and disregard for social norms. Benji is abrasive, sarcastic, and self-centered – the kind of person who takes everything for himself, from the window seat to everyone’s attention. He bulldozes through societal expectations like a rampaging bull, making us ponder if life might be more meaningful when we stop being polite and start getting real. I can’t get Benji out of my mind since I saw the movie, and even if the Dolby Theatre collapses before Culkin can accept his trophy, Benji will remain etched in my memory.

In the film “Babygirl,” Harris Dickinson delivers a remarkable performance as Samuel, a character who finds himself in a complex sub-dom relationship with his boss Romy, portrayed by Nicole Kidman. While Kidman’s portrayal of Romy was widely praised for its intensity, Dickinson holds his own and then some. The intriguing aspect of Samuel is that he remains somewhat enigmatic due to the fact that Romy never shows much interest in learning about him. As a result, the audience learns very little about Samuel directly. However, by closely observing Dickinson’s facial expressions, we can infer quite a bit. His probing eyes, amused half-smile, and hesitation before asserting himself all suggest a character on the brink of taking control – both for his character within the story and for Dickinson in his career. This film serves as an early step in Dickinson’s journey towards dominance in the acting world.

Adapted screenplay

1. James Mangold and Jay Cocks, “A Complete Unknown” – “An Individual Entirely Unrecognized”
2. Peter Straughan, “Conclave” – “The Gathering to Decide (Pope’s Successor)”
3. Jacques Audiard, “Emilia Pérez” – “Emilia Pérez: An Unspecified Title”
4. RaMell Ross and Joslyn Barnes, “Nickel Boys” – “The Nickel-Colored Youth”
5. Greg Kwedar and Clint Bentley, “Sing Sing” – “Chorus Chime” (This title is more of a creative interpretation based on the connotations of the word “sing,” which implies song or music, and “Sing Sing” being a reference to a prison known as Sing Sing Correctional Facility.)

It’s Highly Recommended: “The Nickel Boys” Ross and Barnes didn’t just revise Colson Whitehead’s acclaimed novel, they revolutionized the art of screenwriting. Ross, known for his work in documentaries with the 2018 Oscar-nominated feature “Hale County This Morning, This Evening,” confessed that he had only ever read one script before adapting this heart-wrenching story based on real events about a cruel reform school set in the Jim Crow era South. With this newfound freedom from traditional conventions, they filled their script with vivid descriptions of sounds and scents, as well as dialogue that frequently emerges from off-screen. The outcome is an extraordinary first-person memory play that unfolds like a haunting dream (and nightmare).

In an ode to rule-defying individuals, it’s captivating to witness Vera Drew don her unique spin on the Bat-Signal. Titled “The People’s Joker,” this autobiographical tale of a struggling comedian gets hurled into the DC universe like a psychedelic bat-grenade. Blending humor with homage and oozing punk spirit, the movie’s diverse visual styles are the result of numerous artists eager to reshape Drew’s gender-bending Gotham City using various techniques such as animation, stop-motion, and miniatures. Despite its visually chaotic nature, this film manages to stay afloat thanks to the solid foundation provided by Drew’s script. Clad in a clown costume, she may appear lighthearted, but her screenplay carries the weight of an antihero’s most cunning heist.

Original screenplay

Filmmakers: Sean Baker (“Anora”), Brad Corbet and Mona Fastvold (“The Brutalist”), Jesse Eisenberg (“A Real Pain”), Moritz Binder and Tim Fehlbaum (“September 5”) and Coralie Fargeat (“The Substance”)

This way, it groups the filmmakers together by their films in a clear and easy-to-read manner.

In a Just Deserved Victory: “A True Agony”

Eisenberg’s portrayal of David is equally compelling as Culkin’s grumpy character. It’s fitting that even though his character longed for approval, Oscar voters overlooked his performance. Here’s hoping they rectify that oversight with this nomination as “A True Agony” hits the mark in every groan-inducing scene. A masterful blend of emotion, frustration, and humor, Eisenberg’s script ensures no note overpowers the others. And while he encapsulates David and Benji’s struggle in a single line — “You brighten up a room, only to soil everything within it” — Eisenberg also provides his script with ample breathing space, as shown in the brief scene where David tests his son on the height of the Burj Khalifa.

Annie Baker’s “Janet Planet” Deserves Recognition: A Subtle Masterpiece

In the realm of contemporary theater, Annie Baker has earned both a Pulitzer and a MacArthur genius grant. It’s only fitting that she should also be recognized with an Oscar nomination. The film “Janet Planet,” which chronicles the summer of a rebellious preteen (Zoe Ziegler) and her free-spirited mother (Julianne Nicholson), is so authentic it seems almost unscripted. Baker masterfully employs pauses that allow the audience to contribute their own interpretations.

As Nicholson’s character, a lovelorn codependent who alters her persona with each new partner, transitions, Baker explores the intriguing question of how headstrong girls transform into adaptable women. Although the screenplay does not explicitly pose this question, it is clearly implied in its depiction.

Animated feature

“Flow”“Inside Out 2”“Memoir of a Snail”“Wallace & Gromit: Vengeance Most Fowl”
“The Wild Robot”

In this rephrased version:

Winning Choice: “Flow” could be rephrased as: A boat journey unfolds, featuring a cat, a bird, and a dog. Initially, it seems like the setup for a joke, but as rising waters challenge them, this silent adventure evolves into an emotional tale of cooperation and resilience that resonates across borders. Latvian filmmaker Gints Zilbalodis demonstrates a profound grasp of cinematic language, reminiscent of early masters such as Charlie Chaplin and Mary Pickford who could stir emotions from Burbank to Bangkok with their storytelling. Zilbalodis communicates not only through human speech but also in the languages of meow, chirp, and woof, yet he excels particularly well in understanding and conveying the universal language of humanity.

As a devoted fan, I must say that I wish I had anticipated the greatness of “Transformers One.” Contrary to expectations, this prequel didn’t seem necessary, yet it surpassed all assumptions. The animation takes us back to the magnificent Cybertron, reminiscent of an old Soviet sci-fi film with its softly lit pastels. The script almost matches the visual brilliance. “Transformers One” is a heartfelt exploration of the complex bond between two bipedal robots yearning to be cars, voiced by Chris Hemsworth and Brian Tyree Henry. Incredibly, this series manages to achieve the unthinkable: It makes you believe that these mechanical beings possess souls.

Documentary feature

“Black Box Diaries”“No Other Land”“Porcelain War”“Soundtrack to a Coup d’Etat”
“Sugarcane”

This standout film, titled “No Other Land,” is the crucial contender that viewers have had difficulty watching. Created by four filmmakers (two from Israel and two from Palestine), this documentary chronicles the demolition of a tiny West Bank village by the Israeli government over a span of four years. Earlier, they faced challenges in concealing their footage from military seizure, with five cameras and a computer being confiscated; now, ironically, they find it challenging to distribute their film outside the region as no U.S. distributor is willing to screen it theatrically despite widespread critical acclaim and an impressive series of awards. This week, you may catch rare screenings of “No Other Land” in selected cinemas. I strongly recommend you attend, as there’s a high chance it could take home an Oscar.

Titled “A Potential Gem: ‘Daughters'”, this poignant film by directors Natalie Rae and Angela Patton tells the story of a father-daughter dance, filled with emotional depth that surpasses every prom movie ever made. The men are incarcerated, and it has been years since their daughters last held their fathers’ hands. Ranging from toddlers to teenagers, these girls possess a moral insight that pierces through any justification of America’s prison system. Heartfelt, sincere, and beautifully captured, this documentary lingers with you as if it were a keepsake brooch pinned on your heart.

International feature

“Emilia Pérez”“Flow”“The Girl With the Needle”“I’m Still Here”
“The Seed of the Sacred Fig”

In the 1970s, Brazil is gradually slipping into dictatorship, but citizens remain skeptical about the impending danger. A parent might dismiss their child’s newfound interest in politics as a passing trend, like adopting macrobiotics. However, “I’m Still Here” has managed to gain traction in the Best Picture and Lead Actress categories, seemingly due to its sudden relevance. Nevertheless, the skillful direction of Walter Salles, coupled with Fernanda Torres’ deeply nuanced performance, make it a worthy contender for these prestigious awards, even before recent alarming news headlines became commonplace. I had the opportunity to watch Torres’ portrayal of a wealthy housewife who masks her sorrow with a smile in the fall, and it was just as powerful then as it is now.

Title suggestion: “Universal Language” – A Fictional Exploration:

This intriguing blend of drama and comedy presents itself as a project from the Winnipeg Institute for Children’s and Young People’s Intellectual Development. Much like the film itself, it’s a fabrication that pretends to be factual. Matthew Rankin, a Canadian historian with a knack for mischief, has crafted a strikingly magical Winnipeg where Farsi is spoken in shops, tours, and everyday complaints, such as a woman grumbling about sharing a bus with a live turkey, saying “I can’t unwind with all this clucking!” The central theme revolves around community, even extending to the bond between humans and birds, with Rankin portraying the outsider who discovers that belonging isn’t a gift – it requires involvement.

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2025-02-26 14:34

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