The Cruxton Selection
Spoilers
The wheel of time has turned once more and here we are, staring straight into the eyes of another Oscars night. Over the last few weeks, I've seen many-an article questioning the purpose and relevance of the the Academy Awards. They comment on the low viewer figures for the ceremony. They comment on the lack of blockbusters in the field. They comment on the proliferation of blockbusters in the field. They chip away at something that is, frankly, no more important than you let it be. It exists - you can either pay attention to it or not. I, for one, love to pay attention to it!
It obviously isn't the ceremony itself that gives it the sparkle. That long passed from being the hilarious love letter to the movies that it once was. But that doesn't matter - people don't watch live TV anymore, not really. If the ceremony goes unwatched it may upset the sponsors but it doesn't stop the buzz. That excitement exists because because 50+ films are paraded as being of note in some aspect or another. As a film enthusiast, that gives you something to aim towards. Obviously, many will not be as good as promised, and some will be downright bad. But that's part of the fun - looking at an industry created top list and deciding for yourself.
This year, I've done pretty well. It looked fairly ropey two weeks ago but, with a bit of obsessive watching, I've seen 48 out of 53 films nominated. 91%. That's more than most of the voters will have watched! And now this blog is the cathartic release as I put all of the accumulated useless knowledge into the public sphere hours before it all becomes irrelevant. Do stick with me though! For each category I'll give a quick commentary leading to my favourite. Pre-guessing what happens this evening is a fools errand, one I may be doing in a side competition, but for public consumption you'll have to make do with my personal preferences.
Visual Effects
There are some strong contenders in the running for effects this year. This is a category where you'll best find the big blockbusters that failed to be nominated elsewhere, usually the only place MCU films are allowed entrance. True to form, we find both Spider-Man: No Way Home and Shang-Chi and the Legend of the Ten Rings in play here. Spider-Man was an excellent film but there were some very mild clunky moments with the effects that failed to match the visual perfections of Shang-Chi. It is likely that Dune will steal this, which wouldn't be the worst fate. Free Guy was also well put together, but I think to smaller-fry by comparison. The only glaring mis-admission is No Time To Die which, though perfectly adequate with its effects led explosions, is punching above its weight against four films reliant on successful visual effects to carry the film. But it as to be Shang-Chi, if only for Morris.
Shang-Chi and the Legend of the Ten Rings
Film Editing
This category definitely falls into two halves: films with notable editing (quick cuts mixed creatively) and films with smooth, precision editing. And King Richard. Whilst the latter camp of The Power of the Dog and Dune both work well, probably leading to a Dune victory, I'd prefer to recognise editors who have used their skills in a more obviously creative fashion. Hank Corwin's work on Don't Look Up follows Adam McKay's usual style but the true masterpiece of editing is most definitely Tick, Tick... Boom! The movement between 'live footage', musical numbers, and the main story is effective and keeps the piece tied together.
Tick, Tick... Boom!
Costume Design
Some categories are fairly sewn-up (don't excuse the pun) before the awards begin. This is certainly one of them with Cruella being an achievement in costumes. I mean, it is a film about a revolutionary fashion designer with particularly crazy set pieces. The other nominees all are fine contenders but the drama of the clothing in Cruella is untouchable.
Cruella
Makeup & Hairstyling
Cruella crops up here again, with the makeup and hair being almost as powerful as the costuming. Often, they are integral to one another. It is most certainly superior to Dune, House of Gucci, and the bizarrely nominated Coming 2 America. Yet the eponymous lead of The Eye's of Tammy Faye is created through a mix of Jessica Chastain's performance and the detail of the makeup and hair. The ever increasing layers of makeup, and the decade-matching hairstyles, bring a life of their own to the portrayal.
The Eyes of Tammy Faye
Cinematography
As ever, this category is criminally low down the Oscar's schedule and, I believe, one of the eight relegated to being pre-recorded. Often, the cinematography is what can make a good film great. It is the cinematography that turns movies into art. However hyperbolic it may sound, a good cinematographer is often worth more than a film's actors. Here we have five films which have all found their aesthetic through their cinematographer primarily. Dune's wide scoping vistas, similar often to the dramatic hills captured in The Power of the Dog, and intimate film noir work of Nightmare Alley are all great examples of well crafted cinematography. The best, by far though, is The Tragedy of Macbeth. Bruno Delbonnel finds influence in German Expressionism and early Universal Horror films to bring a stark black and white piece, with clever uses of light and reflection to tell much of Shakespeare's Scottish play.
The Tragedy of Macbeth
Production Design
I fell that The Power of the Dog may walk away with this as a bonus on its way to collecting a large haul of trophies, but it is not the most deserving. West Side Story uses its surroundings as part of its story of deprivation and inner city poverty whilst The Tragedy of Macbeth employs a geometric minimalism to its castles and walkways that, when combined with the cinematography, helps to create the isolation of the interpretation. Both of these would be worthy winners, though my pick is with the opulence and variety of the 1940s as seen in Nightmare Alley. Cate Blanchett's office alone is worthy of an award.
Nightmare Alley
Sound
Good sound work in a film should be unnoticeable. Great sound work should add to the mood. The nominees here (Belfast, The Power of the Dog, West Side Story) are fairly uninspiring for their sound work, falling more in the former category. No Time To Die is a more obvious contender, but I'm loathe to support the sound work on a film which amounts to a series of explosions and gun fire. If I remember correctly, and it was some months ago now, the dialogue was hard to make out at times. Although, that may just my old man ears playing me up! The only film nominated where the sound added to the picture has to be Dune. Half of the stretching landscapes, and the strange visions, were enlivened through intricately detailed sound work.
Dune
Song
In all honesty, I'm rather underwhelmed by this category. Two of the songs, from King Richard and Four Good Days, are simply credit pieces (including the required Diane Warren submission), which I don't believe should count. Awards should be given to songs that added to the film itself, not simply as an after thought. That leaves No Time to Die, which was fine, Belfast, which was another perfectly fine Van Morrison song, and not the good one from Encanto. I could honestly go with any of the three but Lin-Manuel Miranda brings a certain cheery sparkly to life that I'm happy to support. Plus, if he gets it, he'll have gotten his EGOT. And that will be nice.
'Dos Oruguitas' from Encanto
Score
Again, none of these scores massively jumped out at me. Often, there is one with music so captivating and integral that it must be that, but much of what has been nominated almost felt like a side note. I honestly don't even remember Parallel Mothers or Don't Look Up having scores... Encanto's was outshone by its songs and Dune sounded vaguely like every other Hans Zimmer score since Inception. Johnny Greenwood did make nice use of some themes in The Power of the Dog, including a few amusing plays on the Radetzky March used in the plot. Smatterings of musical interest always beat forgettable.
The Power of the Dog
Animated Short
For the first time ever, I have seen all of the Animated Shorts. And what a weird bunch they were too. I can't even begin to guess what the Academy will go for, but I was always going to be drawn to one of my first loves: Aardman. Their latest short, Robin Robin, was a sweet little Christmas film, showing a development of the animation style beyond 'clay-like' to 'felt-like' with some lovely songs and brilliant voice work (always more Richard E. Grant, please). Definitely more enjoyable that Bestia, a short about a Chilean torturer who has a weird relationship with her dog and is nearly murdered in a state sponsored hit.
Robin Robin
Live Action Short
The biggest disappointment this year is this category. I managed a mere two: The Long Goodbye and Please Hold. Both were good. The former was excellent, chilling, and powerful. Riz Ahmed, its star, is simply outstanding.
The Long Goodbye
Documentary Short
Another first with this category also completed. There were a range of interesting stories being told, with varying levels of success. Lead Me Home was all filler and no plot; Three Songs for Benazir was all plot and not filler. When We Were Bullies felt like an Abed Nadir film (a Community reference for the uninitiated). Right at the top were two interesting stories. The first was about a deaf American College Football team, Audible, but The Queen of Basketball, with its triumphs and ultimate disappointments was definitely top.
The Queen of Basketball
Documentary
I nearly managed to complete this category for the first time, but Ascension has alluded me over the past month. There were some powerful stories told across this category. Writing with Fire was another shocking tale from within India, exposing the dangerous misogyny, classism, rape culture, and nationalism sweeping the country through a prism of hope. I greatly enjoyed Summer of Soul as a musical and cultural exploration, but the toss-up between Attica and Flee. The story of a prison riot that ended in state sponsored butchery, Attica was shocking, its story a stain on modern America. But for pure creativity of craft, development of story, and acting as looking glass into the truth of the refugee crisis, Flee has to be the best entry.
Flee
International
Ultimately, this category could only go one way. It was a well run race with fascinating examples of world cinema from Italy (The Hand of God), Japan (Drive My Car), and Norway (The Worst Person in the World). All three were quality pictures with something distinctive to say. Fate conspired against me, so I did not manage to catch Luana: A Yak in the Classroom (why, oh why, cruel fate!), but I am sure little could ultimately pip Flee to the vote.
Flee
Animated
And here comes the controversial view. I don't think Encanto should win this. In fact, if we were ranking the nominees I would put Encanto joint last, tying with Pixar's Luca. Sure, it is going to win the prize, but it is nowhere near creative, original, or outstanding enough to get there. Raya and the Last Dragon ticks more of those boxes than Encanto. Here, I have to break with tradition and not allow Flee a third win from me. In this specific medium, The Mitchells vs. The Machines is the only serious contender. Please backtrack to my full review for a full breakdown, but in sheer artistic creativity, this is the winner everyday of the week.
The Mitchells vs. The Machines
Adapted Screenplay
And thus we reach the first of the big six. Adapted Screenplay is a hotly contended category. All but Dune deserve their place in the nominees, and even Dune was fine. In the middle, The Power of the Dog and The Lost Daughter are both well crafted scripts. They show care, delicacy, and detail. At the top end, CODA is a superb effort, especially when you consider the bilingual nature of the piece. Yet Drive My Car is still ahead of it. It balances art, philopshy, and language in a careful essay on grief. Brilliant writing.
Drive My Car
Original Screenplay
Interestingly enough, where the Adapted Screenplay nominees were mostly outstanding examples of their field, the Original Screenplay group is rather on the weaker side. Head and shoulders above the rest is Kenneth Branagh's concise and moving account of a childhood in Belfast, told without prejudice or bias. Below it is the Norwegian Worst Person in the World, a story of relationships and life choices told with wit and poignancy. Licorice Pizza drops another level below that to just being 'good', before you reach the long and less-than-expectedly funny Don't Look Up. It's not up to McKay's usual standards. And, honestly, why was King Richard included...?
Belfast
Supporting Actress
A fairly strong field, with good performances across the board. I had thought Aunajue Ellis had played Serena Williams in King Richard and was doubly baffled when it turned out she had played the rather forgettable mother. Judi Dench seems to have been added a deference to her longevity and continued performance prowess, but I think the others were probably stronger. I would love for Jessie Buckley to win as I think she is a potential great British actress, but the top of the field this year was definitely Ariana DeBose in West Side Story. And I would be very happy to see the same role win the same award twice!
Ariana DeBose for West Side Story
Supporting Actor
This year, the supporting actors were all fine but few stood out besides their leads. Cirán Hinds was very good in Belfast and J. K. Simmons managed to turn a rather caricaturish role into something deeper in Being the Ricados. But the only big stand out has to be Troy Kotsur for CODA. As a father almost losing his daughter, he brough sensitivity and pathos to their relationship. A stand out performance, truly.
Troy Kotsur for CODA
Actress
With an eye on my side hustle, I have been trying to track the potential 'favourites' for each category. Yet, I'm not sure there really is one for actress. None of them come from films that have done particularly well in other fields (no Best Picture nods, for instance) but all were quite good. Kristen Stewart is the weakest with a rather generic Princess Diana impression in Spencer, the sort I imagine Jan Ravens could do equally well. Jessica Chastain was good in The Eyes of Tammy Faye but it did feel she was constantly skirting a caricature, which was a similar issue for Nicole Kidman in Being the Ricados. Olivia Coleman was strong in The Lost Daughter but not quite the same level as Penélope Cruz in the moving Parallel Mothers.
Penélope Cruz for Parallel Mothers
Actor
Very sadly, this category seems tied up for Will Smith. After missing out on two deserved Best Actor awards, he seems destined to be rewarded for an average performance in an average film. His peers, Benedict Cumberbatch, Javier Bardem, and Denzel Washington are all far superior. The biggest upset though is that this award should be Andrew Garfield's. He is a tour de force in Tick, Tick... Boom! and has been much underrated since its release.
Andrew Garfield for Tick, Tick... Boom!
Director
There a lots of good directors up for the award this year. Any would be a worthy winner. Whilst it looks like Jane Campion's to lose for the hot favourite The Power of the Dog, the old master, Spielberg, is my choice. It takes a bold director to tackle a classic musical, especially a director who has never tried a musical before. It takes an outstanding director to improve upon said original classic musical with a fresh and respectful direction.
Steven Spielberg for West Side Story
Picture
And to conclude, the big one. This category is definitely split into three. At the bottom are two films that, frankly, should be nowhere near the Oscars, let alone Best Picture. King Richard is little besides a Hallmark quality biopic, devoid of challenge, growth, or compelling narrative. Don't Look Up is a generic comedy, a shadow compared to Adam McKay's previous works.
In the middle you have good films that feel included to fill the category out. Licorice Pizza and Dune were both good. They had strong moments, technical successes, and were popular with their target audiences. Great films though? No.
At the top is a tight group of very well made films. The Power of the Dog is the hot favourite and would be a worthy winner. I preferred Nightmare Alley, although this has split the critics (and our family). Belfast was a cracking little film and, as a Brit, an important take on an issue that has torn through British life for a century. I liked Drive My Car a lot, in spite of the length, although it lacks the edge previous International films have had to crack the top spot. I was very nearly swayed into going with CODA, taken by the rare instance of an outstanding film, on an important issue, with a warming centre to it. Plus, I found a strange affinity with the singing teacher.
But I can't get away from my favourite film of 2021. West Side Story took an outstanding musical and gave it new depths. It was familiar and fresh. It was respectful and challenging. It still had the power to illicit a deep emotional response. And, most importantly, it was pure cinema.
West Side Story
Thanks for joining me again - now, onto the post-Oscar's slush!
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