Oscar Talk: Best Picture
Best Picture -
9. Phantom Thread
Phantom Thread is one of Paul Thomas Anderson's most delicate films, with a slow-burning story and a bizarre ending that makes it the least accessible nominee of the year, even though the love story is fairly simple at its core. It is a true cacophony of Anderson's professional partnership with Daniel Day-Lewis, and a high note for the now retired actor to end on, beautifully capturing the career of both men. Anderson also creates powerful underrated roles for the two supporting females, Vicky Krieps and Lesley Manville, and shows once again that he is a master of control and exposing actors to their full potential. Phantom Thread's awards-draw comes from the portrait it paints of an artist, so stubborn and deliberate that any Academy member will automatically be drawn to him. It also is a celebration of the career of arguably one of the best actors in the industry, making it no surprise that it was included in the nominations. However, the inclusion here is all it is, as Phantom Thread is much too low-key and potentially off-putting for Oscar audiences to rally behind.
8. Darkest Hour
This one is a no-brainer for a Best Picture nomination. A political drama centered around one of the most famous figures in history: Winston Churchill, and a major transformation featuring an impressive prosthetic double chin by veteran actor Gary Oldman? Of course this was going to be awarded by the Academy. Darkest Hour is well-directed by Joe Wright and well-acted by Oldman, but it is honestly kind of a dull journey into this famous leader's life. I understand the dreary aesthetic of the underground tunnels underneath 10 Downing Street and the Parliamentary chambers, but it made the entire film feel much less exciting than it was trying to be. Unfortunately, nothing about Darkest Hour is memorable to me other than Oldman's salivating performance (there is a lot of spit) and I found more enjoyment out of the television version of the role done by John Lithgow in The Crown. This might be a clear favorite for the older members of the Academy, but the chances of it winning are incredibly slim.
7. The Post
Everyone could clearly see what Steven Spielberg's intentions were the second The Post was announced. He gathered a story that fits perfectly into the current political climate of a corrupt president, gathered all his favorite A-list actors and their friends and made a safe and Spielbergian drama to submit to the Oscars in eight months. The fact that The Post only got two nominations this year (the other being a Best Actress for Meryl Streep) makes it clear that the time for these types of movies has passed. The ensemble biopic with an obvious message is not exactly pushing any boundaries any more. This movie appears to have just been cut and pasted into the nomination list, as its Awards-bait was too intentional not to grab onto. If the Oscar voters wanted to play it incredibly safe, this would be the winner, but I have a feeling we will not be remembering The Post much longer than it actually took to make it.
6. Call Me By Your Name
I seriously hate how low on this list Call Me By Your Name is. I am not sure when it got lost in the chaos of award-season buzz, but somehow, it did. I would imagine this film has the kind of subtlety that older voters can not really get behind. It is also progressive with a homosexual romance at the forefront and foreign in its ideals about the subject (and also in its Italian location). Timothée Chalamet and Armie Hammer will most likely never be this good again, and that is not an insult, but just a fact. It is hard to imagine how exposing this film is as an actor, both physically and emotionally, and nothing this year quite matches its sensitive beauty. Unfortunately, director Luca Guadagnino was snubbed for a Best Director nomination, and the conversation around Call Me By Your Name has dropped significantly since its premiere in the festival circuits earlier last year, so it will surely go unrecognized by the Academy for Best Picture.
5. Dunkirk
I have mentioned this fact in almost every post featuring Christopher Nolan this season, and I will say it once more. If this year had been even slightly less diversive or contemporary with its films, Dunkirk would shoot to number one on this list. It is a technical masterpiece by a hugely acclaimed director about one of the Academy's favorite subjects: war. Its ambition is truly admirable, and definitely a game-changer for Nolan. The reason I believe it falls to the wayside this year is because of its unique anti-character perspective. Almost none of the protagonists have names, and we are not given any time to follow any journey, as we are also lost in the chaos created by Nolan. Clearly, this was the intent of Dunkirk, and I have grown to love it more as I consider the risk taken in crafting it in such a way. Unfortunately for Dunkirk, the next four nominated films simply offer more by way of appeal to the greater voter population.
4. Lady Bird
These next four are going to be short and sweet, as I have been talking about them endlessly leading up to Oscar night. Lady Bird has a good shot at taking home a screenplay, and even a director, award just to spread some positivity about female filmmakers. Greta Gerwig has almost single-handedly championed the success of Lady Bird, because of movements such as #MeToo and #TimesUp taking over Hollywood this season. It would not be shocking to see it land a Best Picture win, but it is almost too simple (in the best way) to be representative of all film in 2017, which is what I have always attributed as the goal of this award.
3. Get Out
I love Get Out and it would be a serious accomplishment if Jordan Peele's horror-comedy-thriller managed to break through as the winner. Its implications for representation and genre-inclusion would be magnificent, and that is why it is my personal pick of what should win. Will it? Eh, Get Out has garnished the most awards this season so far, but it would be extremely out of character for the Academy, especially its veteran members, to give as much credit to the film as it deserves.
2. Three Billboards Outside Ebbing, Missouri
Although Three Billboards is offensive and off-kilter in many ways, Martin McDonagh's powerhouse of clever writing, amazing acting (which is being recognized in its own categories) and thought-provoking narratives is proving to be quite the contender this year. I am not sure if the film's depressing and truthful nature is what garnered so much Oscar acclaim this year, but it still feels slightly strange that a movie such as this was given such a chance at winning. No complaints, here, though, as it is also a very unconventional winner that would be a huge step in the right direction for the industry.
1. The Shape of Water
Oh, Guillermo Del Toro, after so many years of innovative and captivating creations, it might be finally time to reward you for your hard work. Though not my favorite on this list, The Shape of Water is just another example of a film that could mark advancement in Hollywood. The story of a mute woman (Sally Hawkins) falling in love with an equally tragic being (one that happens to be an Amazonian fish God) is literally the tale as old as time, but Del Toro, as he is known to do, makes it just obscure enough that it is still a surprise how popular it is among more conservative voters. The Shape of Water is vast, gorgeous and representative of underpriveleged characters, making it similar to previous winners who fit into the standard Oscar mold, but somehow managing to be just unique enough that it would still be exciting to see something of its caliber win.
Who will win: The Shape of Water
Who should win: Get Out or The Shape of Water
Images by 20th Century Fox, Fox Searchlight Pictures, Focus Features, Universal Pictures, Sony Pictures Classics, A24
