Breaking down Oscar’s top films
This year’s Academy Award nominees for best picture have a lot in common with last year’s. One is a remake, only two have present-day settings, and the rest are period pieces telling lesser-known stories.
However, this year’s Oscar crop has an increased number of laughs compared to recent years. Rare is the true comedy that gets nominated. Thus, we settle for the humor surrounding serial killers, divorce and Nazis.
Here’s my take on the nominees
“Once Upon a Time … in Hollywood.” Quentin Tarantino’s ode to 1960s’ Hollywood gives us Leonardo DiCaprio and Brad Pitt at their absolute best. The former is an aging star and the latter his longtime stunt double. Lost Angeles from a bygone era comes alive amid a tumultuous plot that finds our heroes wrapped up in everything from bad television to the Manson murders.
“Parasite.” Bong Joon-ho creates a family that worms its way into high society, piling up the lies. He already proved that he can do monster movies (“The Host”) and class warfare (“Snowpiercer”). With “Parasite,” he mixes the two genres superbly – grossing us out with the lows to which people will stoop to get a taste of the good life.
“Jojo Rabbit.” Taika Waititi shows us WWII from the eyes of a 10-year-old German boy itching to be a Nazi. Waititi plays a goofball Hitler, imaginary playmate to Jojo. The war itself hides mostly in the background as we watch Jojo slowly understand just what it is he has been so fervently supporting. Fun roles by Scarlett Johansson, Sam Rockwell and Rebel Wilson add some weight to the film.
“Ford v Ferrari.” Matt Damon and Christian Bale demonstrate a fantastic rapport in James Mangold’s glorious auto racing film. Needing a jumpstart, Ford Motors hires Carroll Shelby (Damon) to head up a racing team worthy of taking down the world’s best.
“Little Women.” Greta Gerwig’s film irritates early on. The women of the title make irksome decisions, and the time jumps are confusing. Gerwig eventually straightens things out enough to leave us with an excellent remake.
“The Irishman.” Martin Scorcese swings for the fences with this gangster extravaganza. Using almost every actor he’s ever directed, Scorcese tells the story of family man turned hitman Frank Sheeran (Robert De Niro covering multiple decades). Once Sheeran begins providing his wares to the mob, he earns enough praise to become bodyguard to Jimmy Hoffa (a wild Al Pacino).
“1917.” Sam Mendes pays tribute to those who fought in WWI. Two young soldiers are given the near impossible task of delivering a message before thousands of their own walk into a slaughter. Mendes hides his edits to make the film seem like one long, unbroken take. Despite sometimes feeling like we can’t get away from the two corporals, Dean-Charles Chapman and George MacKay make us truly care about their journey.
“Marriage Story.” Films about divorce are often uncomfortable viewings. This one is no different, but performances by Adam Driver and Scarlett Johansson elevate it to something special. Director Noah Baumbach does not choose sides. Instead, we see an equal measure of humanity inside each person’s faults.
“Joker.” I gave this film an A- in my review, and I stand by it. In a vacuum, it is a fantastic film. In hindsight, however, I wonder if we needed this movie. Why should we care about a disgusting sociopath like Arthur Fleck? If this film were titled “Arthur” and had no connection to Batman, no one would have seen it.
Here are my personal top 10
- “Beautiful Day in the Neighborhood.”
- “Knives Out.”
- “Once Upon a Time … in Hollywood.”
- “Us.”
- “John Wick 3.”
- “Parasite.”
- “Jojo Rabbit.”
- “Ford v. Ferrari.”
- “Little Women.”
- “Avengers: End Game.”
Jeff Mellinger is a screen writer and film buff. He holds a BA in Film Studies and an MFA in film production. Send email comments to editor@pioneerpublishers.com.