The Cruxton Selection
Spoilers
Alongside Christmas, summer beer season, and my birthday, Oscars Season is one of my favourite times of year. The nominations appear in January, we tick of the films we managed to catch in the year with smug glee, we track down the dates and cinema locations for screenings of the ones we need to catch, we drink pints after them to discuss our evolving opinions, and then we reach the final reckoning of concrete predictions and anticipation.
This year, as I have mentioned before, has been a little different and a little off-kilter. The Oscars are later this year than previously, closer to their original placement in the year but now not associated with winter as much. Due to the closed cinema situation, rather than starting the season having roughly watch half of the films, I'd seen four (out of fifty-six). And rather than only watching a handful on streaming services, the remaining twenty-six I caught were all streamed.
Watching films at home is nothing like its big screen equivalent. The anticipation is sucked out of you leaving a rather anaemic experience; not an ideal setting for judging the quality of the year's 'best pics'. This whole season has felt like unrewarding hard work at times; the constant living room distractions, the smaller screen, the anti-surround sound, and, probably most importantly, the lack of post-film pub chat with Mrs C., my Dad, and sister, alongside any buddies we share a jaunt with.
But I have persevered nonetheless, determined to see this season through as best I could. In spite of my moaning, there was a sense of satisfaction still when we hit the credits on The One and Only Ivan, our last targeted film. Out of fifty-six I've managed thirty. I made a deliberate decision to skip the 'International' and 'Documentary' categories, given the amount that needed to be watched with month to go, and all three shorts categories are basically non-existent on the streaming giants. More irritatingly Another Round is not available to watch, big hitter The Father isn't actually out on Amazon until June so the film can try to hit some British cinemas, and favourite Nomadland is out on Disney+ on Friday. I assume that this is because Disney hates us.
From this wibbly-wobbly, slightly incomplete marathon I've put together my list of favourites below. These are the films I would have voted for were I an Academy member. If you want the short version, skim down and see the film emboldened beneath each category. If you are a full Oscars nerd and crave as many opinions as you can, please indulge yourself with my longform breakdown. See you at the end...
Visual Effects
A bit of a funny category here as I wouldn't have said any of the nominees had especially pushed the boat on their effects. I am certain Tenet will walk away with it but, from what I can remember, the effects for that stretched as far as playing the footage backwards superimposed with it playing forwards, alongside some explosions. The One and Only Ivan shows how far animal animation has come but is slightly let down by the real gorilla footage played at the end - not quite there yet. The Midnight Sky showed some interesting spaceship effects, most convincing and creative, but I think the pure creativity and believability of the Love and Monsters monsters grabs it for me.
Love and Monsters
Film Editing
Not the most exciting category to consider, but consider it I have. Here we have the first category where the ridiculously late showings of The Father and Nomadland preclude me from a fully formed opinion, but I thought the editing on Sound of Metal was superb. Possibly Da 5 Bloods would have been a better pick, but it did not get a nomination!
Sound of Metal
Sound
The first run out for this category, following the merging of the old 'Sound Editing' and 'Sound Mixing' awards into one slightly more sensible category. I cannot remember much of the sound quality for most of the nominees (News of the World, Soul, or Mank) but in a normal year Greyhound would have run ahead of the pack. The use of sound is integral to the naval experience, especially when fighting U-Boats. But it has to be Sound of Metal this year which took the use of sound in cinema to a completely different level.
Sound of Metal
Song
There can only be one victor in this category if there is any justice in the world. This category is for best original song in a motion picture. As with any category, one would assume that meant the particular aspect being considered had directly impacted the film to a notable level. Thus, a song should be from within the film and add to it. I would very strongly argue that playing a song over the credits, however nice, does not really add to the film. It is an extra, an add-on, superfluous. Four of the nominees are just that though, credit songs. I imagine that One Night in Miami or The Trial of the Chicago 7 will win it for their BLM messages (very worthy as songs) but I think the award should go to the only film to use the song as part of the narrative: Eurovision Song Contest. Aside from being integral to the plot, the song is actually pretty good too.
'Husavik' from Eurovision Song Contest: The Story of Fire Saga
Score
The score category is hard one for me this year. All five nominated were films I enjoyed the music to and felt their scores had added something to. Blanchard's Da 5 Bloods score sold a heavy line of traditional Vietnam score pastiche, whilst Reznor and Ross' Mank score worked hard to invoke a sense of film noir. As I listened to Mosseri's Minari score, in the moment, I was convinced that its restrained sound world was Oscar winner worthy, whilst Newton Howard's score for News of the World trod a fine line in creating the frontiers world of 19tyh Century America without indulging in cliché. But it has to be Soul. Batiste, Reznor, and Ross (up for two film scores!) composed a score that was the foundation of the whole film. The film is music.
Jon Batiste, Trent Reznor, and Atticus Ross for Soul
Makeup and Hairstyling
There is a clear winner here. Although I think Mank's Hollywood nostalgia fest will take it, or even possibly Hillbilly Elegy simply for Glenn Close's makeup, Pinocchio is on another level. Actors are made-up like animals, like puppets, to a CGI level of art and reality. Yet it is all done with makeup and prosthetics. A joy to look at, it deserves it more than any of the others.
Pinocchio
Costume
Several strong contenders fill out the fold. Emma., Pinocchio, and Mank all display great costuming that add to the directorial vision. I think there is a strong chance Ma Rainey's Black Bottom will take the crown as a reward to Ann Roth who, at 89, is the joint oldest nominee for a competitive award in Academy history. Mulan, for me, is the real winner here. A film that never quite reaches its potential keeps you wide-eyed through its bright and colourful costumes.
Mulan
Cinematography
Setting Nomadland aside, all four are strong contenders in this field. Judas and the Black Messiah probably edges both News of the World and The Trial of the Chicago 7, but the walk-away winner has to be Mank. Whatever criticisms one might throw at it, few I subscribe to but nonetheless, the cinematography is exceptional. The smoky, black and white world of the golden age of Hollywood is intoxicating to watch. In many ways, I think the cinematography is the star of the film.
Mank
Production Design
Historical settings for films can be a help or a hinderance for understanding the history of an era. Quite frequently Westerns or 'frontiers-film', to coin a new genre, build sets and productions that feel like the Blazing Saddles set on the Warner Bros. lot. News of the World brought something to the table that felt authentic, that felt revealing, that felt researched. The sparse, worn, struggling, barren sets seem to highlight the struggles of frontiers-people. Whilst I haven't seen The Father to comment, Ma Rainey's and Mank both bring the style of a time period to the front, and Tenet has very little to write home about from a Design standpoint. None of them quite sell their setting like News of the World.
News of the World
Animation
Alongside Score, and sometimes Song, this is my favourite category. Animated films bring us some of the greatest moments in motion picture history but are often overlooked by, well, morons when ascribing merit to movies. This year brought a good crop to harvest. Over the Moon was a surprise triumph, full of life through celebrating Chinese culture. Onward was a fun quest movie, though probably a weaker entry against its competitors. I loved Wolfwalkers and was glad for the chance to explore the Irish trilogy it comes from, though it does feel a slight stepdown to the story and artistry of its predecessors. I enjoyed Soul, but it did probably suffer from the home-cinema experience. I imagine it demands the sensory-deprivation tank of a cinema screen to fully appreciate. The winner for me, though, has to be the brilliant Shaun the Sheep. Effectively a silent movie with great comedic set-up and a slew of sci-fi references. This is one of Aardman's greatest achievements, though I imagine will lose to Soul.
A Shaun the Sheep Movie: Farmageddon
Adapted Screenplay
Welcome now to the top end of the awards where the curse of The Father and Nomadland start becoming a real bind. This category leaves me little room to manoeuvre. Although the satire was, at times, very good, I still am not certain why a partially improvised film like Borat Subsequent Moviefilm (et al.) has been nominated for screenplay. Between the remaining two, The White Tiger and One Night in Miami I see little in it. For my money, the essay on black lives in America which was One Night pips it, through intelligent pacing, arguments, and dialogue. I do imagine I will be disappointed to find The Father has won it though.
One Night in Miami
Original Screenplay
Back in my element, any of these films could take this and I would be happy with any result. All five boasted a strong script that played to the core of the film's success. Aaron Sorkin is a popular writer so I can see the Academy selecting The Trial of the Chicago 7 as its choice. My preference is Promising Young Woman. Fennell's screenplay shows wit, pacing, drama, and an important message. I won't be said if Judas and the Black Messiah, Minari, or Sound of Metal take it though.
Promising Young Woman
Supporting Actress
Olivia Coleman's mystery performance in The Father aside, we have a rather random selection in this field. Glenn Close's Mamaw in Hillbilly Elegy is not bad, and certainly not Golden Raspberry worthy, but is not outstanding. Her nomination feels like another attempt to get her that long-awaited Oscar success after eight attempts. Amanda Seyfried is good in Mank but not 'Dame Judi stealing the film in nine minutes' good. Maria Bakalova deserves something for keeping pace with Sacha Baron Cohen's Borat but perhaps not an Oscar. Youn Yuh-jung was a standout in Minari though, with a performance both funny and heart-breaking.
Youn Yuh-jung for Minari
Supporting Actor
This round fills me with a certain level of contempt for the voting in the Academy. Academy members vote actors, for the nominations, into either lead or supporting role. For some reason, which I imagine is related to ensuring a certain actor secures the main prize, Lakeith Stanfield's powerhouse performance in Judas and Black Messiah has found him in this category. He is not the supporting act, though, he is the lead. Qualities to win the supporting award come from either providing an interesting character piece or providing stability around which a lead character soars. For that reason, I would not vote for Stanfield, although I imagine he may get the award. The race is between Paul Raci, Leslie Odom Jr., and Daniel Kaluuya, with Sacha Baron Cohen's Abbie Hoffman not quite reaching their level. Odom Jr. clinches it though, with a spot on Sam Cook.
Leslie Odom Jr. for One Night in Miami
Actress
Conversely to the previous category, I would straight away remove Viola Davis from considerations. Her performance in Ma Rainey's is good, but not leading. She is a support to Boseman's work with the band. I cannot comment on Frances McDormand for Nomadland, although I reckon it's hers for the taking. Carey Mulligan is my pick, her star turn in Promising Young Woman showing power, frailty, and pain.
Carey Mulligan for Promising Young Woman
Actor
There is one name that is likely to win and, unusually, I have to agree. Although Anthony Hopkins may sneak it, and Riz Ahmed is quite deserving too, Chadwick Boseman is excellent in Ma Rainey's. Beyond excellent. His performance shows what a loss his death was for cinema and he deserves to go down with some final triumph.
Chadwick Boseman for Ma Rainey's Black Bottom
Director
Another category of personal disappointment. I imagine Chloé Zhao will win for Nomadland - we'll have to wait until Friday to find out! And Another Round, directed by Thomas Vinterberg, makes an unwelcome appearance. Those aside, Mank is well directed, as is Minari, both potentially worthy winners. But again, Emerald Fennell has shown herself to be a great at the start of a long, successful career. I would recognise her work here.
Emerald Fennell for Promising Young Woman
Picture
And so, loyal reader, you have stuck with me through a veritable dissertation on the 93rd Academy Awards. Congratulations! Give yourself a few days break from the blog - I know I will be taking one. Just the main prize to go. A short list of eight gave some very interesting choices. The unmentionable two aside, I very much enjoyed all entrants here. Mrs. C plumped for Minari, which I was close to choosing. And the audio work of Sound of Metal, combined with Ahmed's performance, nearly pushed that to the fore. But the best film I have seen this Oscars Season, without a shadow of a doubt, is Promising Young Woman. I really couldn't fault it - a black comedy that lives up to its name, that tells a heavy message with a sleight of hand, that leads you on an uncomfortable path with familiar faces. I hope it gains some recognition at the awards, for it deserves many kudos.
Promising Young Woman
Here's to next year. May it bring more cinema experiences and public house conversations, and far less Netflix and Amazon!
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