2015 Oscars: If I Get All the Way Out There and I Find that You’ve Been Lying to Me…I’m Going to Find You, and I’m Going to Take More than My Money Back. Is that Alright With You?

Best of all pictures:

  1. The Theory of Everything

What a real sweet treat, and a feat. Science: what a treat. What a timeless story of love, and a privilege to know. Sweet? Check. A treat? Check. This is a film you want to watch with the finest shrimp available to your community. One for the annals, and for the children as well. It made me look at the sky and think, “wow.” The ending kind of reminded me of, if you can remember, how on a VHS tape you would have to rewind it to watch it again, and you could actually watch the film in reverse if you left the TV on–kind of like going back in time. It’s like you were going through time. And sometimes you would pause it in the middle and it would kind of stop flickering between frames and you’d get a picture of a character about to blink and it would almost look like they were winking at you, like they knew you were there; like you were peeling back the veil of the universe to see the unthinkable machinery. It was really scary, kind of like a horror that nobody else would ever see.

  1. American Sniper

Brad the dad Cooper has been on the awards circuit explaining that American Sniper is about the neglect returning vets face. “We looked at hopefully igniting attention about the lack of care that goes to vets. Discussion that has nothing to do with vets or what we did or did not do, every conversation in those terms is moving farther and farther from what our soldiers go through, and the fact that 22 veterans commit suicide each day.” (NYT)

We’ve been swindled, Coop. We’ve been swindled. Swindled like babes left out on the driveway. Left out in the fallow field, for ‘coons to inspect. It was a wholesale job.

Such a film may have depicted:

  • A trip to a VA that has been constantly in a state of outright scandal due to mismanagement, resulting in thousands of veterans being wrongly denied benefits, having benefits delayed unduly, or being put through inordinate amounts of duress to claim them.
  • A spousal or parenting relationship that was affected more deeply and lastingly by tours of duty abroad than Kyle’s, wherein his wife–who is allowed to do nothing, nothing expect nag him for his absence the entire film–resolves the thread with the transcendental showstopper gush, “you are a wonderful husband, and you are a wonderful father.” Full stop.
  • A treatment of Kyle’s murder at the hand of Eddie Routh, a fellow PTSD sufferer and veteran featuring something more than a random demonic glare from said wife towards the actor portraying him, a hasty title card, and a congratulatory funeral montage.
  • A vet having difficulty finding his or her feet on returning to the U.S. in large part due to a lack of an internal or external training program that by and large provides veterans decent odds at gainful, stable employment after their service.

For a more fine-toothed look at the lack of care that goes to vets, see… Starship TroopersVideodrome? Eastwood is credited as director, and is not nominated for best directing ostensibly because the film was developed by Steve Spielberg with Cooper cast in the main role and over six months of principal photography having been shot before Spielberg bowed out due to creative differences. It shows in the tonal oddities. I have to imagine a significant set of spouses and families of veterans cringe at the depiction of Kyle’s wife as a creature whose seemingly only function in the world is to badger? The full reintegration into the family, especially for soldiers seeing extensive combat, deserving of so little screen time? Does Kyle himself depict things so simply in his book? The scene where Kyle successfully flirts with the wife by pointing a gun at her in front of toddlers? Is it possible Eastwood isn’t throwing us a curveball here? At any rate, two coworkers have, to date–unsolicited–imparted to me that American Sniper is in no uncertain terms the best film ever. But where was Tom Cruise? Get Tom Cruise in there.

  1. The Imitation Game

Biopic three: engage. Prestige piece B, 2015. Yet another biopic that would have been exponentially more interesting had it aimed for a remotely balanced portrait of the subject’s life. I was actually somewhat surprised they spared even a single scene directly addressing Turing’s subjection to chemical castration. Instead we focus on the faux romance and a delightful genius complex. “Sometimes it’s the people no one expects anything from who do the things no one expects”.

So. I continue to be a net fan of Cumberbatch, and the genius shtick is perfect for the solid BBC Sherlock series, but here without the implied campiness afforded by the TV format it just comes off as perfunctory. Threads of Turing’s landmark work on computers, minds and identity (do check out Turing’s work, it’s well written and impressively accessible given the ideas he’s working with) are suggested, but never really picked up. There is a much better film to be made of Turing’s work and legacy, too bad it’s not allowed to live here. Weinstein’s “Honor the Man.  Honor the film.” plea for awards recognition is the definition of beyond the pale.

  1. Boyhood

Was initially skeptical of the 12-year timespan, expecting it to be leaned upon overmuch so as to come off as a melodramatic gimmick.  Instead, I was surprised to see the film actually holds out against that pitfall until the last half hour or so. Mostly, things spool out organically, allowing the viewer to supply a lot of subtext; if anything, the passage of time is oddly unremarkable. I found myself appreciating the scene where the protagonist gets his head shaved, as the film had theretofore been using drastic hairstyle changes to accentuate the passage of time to the point where they started to become characters in and of themselves. The film is at its best when it’s comfortable being about ‘familyhood’ beyond ‘boyhood’, with some entertaining moments on that front especially in the early to middle stages. Finally succumbs to needing to explain/justify itself more and more towards the end as later teenage hangout scenes begin to feel wooden; boy begins to ask father “what’s the point of everything”; we begin to see the conversations I suspect parents have with their children in their heads and wish their children would solicit, rather than interactions that really happen. The last scene is a real thud as we’re offered a fuzzy glorification of “moments”: ah, yes, that’s what you’ve been providing us, you miracle of film you; thank you for that, thank you. The best film here tells the story of this boy’s boyhood, instead of flailing at a universal boyhood, particularly the implication that it is a suburban one.

  1. Birdman

Abashfulharvestman and I discussed Birdman at length. 

  1. The Grand Budapest Hotel

I’m not generally a big Anderson fan—his films too often consist of weak or excessively twee stories that seemingly exist as vehicles for the signature, highly specific to the point of high comedy motifs and aesthetics. I haven’t been fully into one since 2001’s The Royal Tenenbaums, which was early enough in the catalog that the fashion was fresh. This is a different film than Tenenbaums, attempting more to evoke universal sentiments of guilt, the putting on of airs, and the elasticity of memories, whereas Tenenbaums dove into idiosyncratic characters with very rich and specific inner lives.  The latter may be a more fertile ground for Anderson’s sensibilities, generally, but Fienes as our comedic lead and Tony Revolori as his straight man foil make a very strong central pair, seemingly agents in Anderson’s world rather than affectations of it. The wide supporting cast is hit or miss–Adrien Brody is miscast and Bill Murray’s appearance along with other Anderson-regulars’ cameos are tedious boxes checked. Jude Law, Tilda Swinton and Jeff Goldblum fare much better.

  1. Selma

The only film of the set that got me emotionally choked up. The one biopic that perhaps was jostled from the flaming wreckage of the Doomed Biopic Mothership on atmospheric re-entry. Remarkably little history revision done for the sake of convenience or entertainment (there is some), and the flourishes there tend to constructively elucidate patterns and situations. I’m largely in agreement with Mark Harris’ good piece on it, and with respect to the lack of attention it’s receiving would emphasize simply that 12 Years’ deserving accolades last year have sapped the industry’s puny reserves of focus with respect to ugly pasts, black disenfranchisement especially. This is a year for propaganda, for revision.

I like that Selma tries to bring in lesser-publicized factions of various, often competing, civil rights groups of the time, but the actual logistics of things are rendered a little bit unclear for those of us who aren’t experts. Oyelowo deserved a Best Actor nom over any of Cooper, Cumberbatch, or Redmayne.

  1. Whiplash

This is a real throwback, replete with physical performances, scenery chewing, and the old *setting the table/working hard, hitting adversity hard, redemption* three-act arc. Does an exemplary job at conveying with efficiency, such as showing the protagonists’ background and giving a good sense of his dating life without a single note beyond what’s needed. I think it does at the end of the day traffic in the myth that education through negative reinforcement is effective, especially at mastery levels—or at least that it’s acceptable in the “big leagues”. But there’s so much going on here within the characters that I’m willing to look past that and focus on this as the story of these particular two people. There is some room for the idea that our virtuoso could have flourished without the abuse, the question’s tugged. The one fly in the ointment is that the last scene’s tone is a bit too broadly suggestive of reconciliation–it probably would have been best left more ambiguous, or, to somehow imply the boy’s fulfillment of his own agency transcending the demon teacher. As is, things end on a bit of a shrug. Music itself absolutely a plus. Very strong editing throughout, heightening not just the most dramatic tussles but the lighter moments, too.

Shall win: Birdman

Should win: The Homesman


Best of all Directors:

5. Morten Tyldum — The Imitation Game

Where’s Tom Hooper?  Get Tom Hooper in there!

4. Alejandro Innaritu — Birdman

3. Bennett Miller — Foxcatcher

Foxcatcher‘s tunneled focus and near complete lack of external context to the events depicted at the Foxcatcher farm lend it a lot of its claustrophobic, intense feel. It also becomes a major narrative handicap given how things are framed around the climactic tragedy. The script is actually pretty good and the acting’s there…it’s just glaring how the film seems not to quite capitalize on a great thread about wealth and isolation and megalomania, and how it throttles the world at large.

2. Richard Linklater — Boyhood

A mixed bag. While Foxcatcher needed to widen the scope a bit and speak more to broader things, Boyhood struggles a bit with the opposite problem. Strong work early on gives way more and more to stultifying waves at universal themes that aren’t there and didn’t need to be.

1. Wes Anderson — The Grand Budapest Hotel

We’ll interpret “best directing” this year as the one leading a project that best maximized its potential. Grand Budapest Hotel, despite a relatively complicated plot, displays the most effective control of tone and drama here.

Shall win: Richard Linklater


Superlative Actor in a Leadership Role:

5. Benedict Cumberbatch — The Imitation Game

Sometimes you feel like a treat.

4. Eddie Redmayne — The Theory of Everything

Sometimes a treat feels like you.

3. Brad the Swindled — American Treat

Coop really nails the ending of scenes by staring at a point about two o’clock high from the camera. What is he lookin’ at? A tango? A goat? Moral fabric? Patrick Duffy, he could have sworn? Regardless, keep working those baby blues. Practice better gun safety.

2. Steve Carell — Foxcatcher

Wins the Tom Hardy annual Most Fun to Try and Impersonate in Random Situations award. Seriously, though, if you’ve spent any amount of time around a wealth baby that’s been raised in an at least partially self-imposed valley of unreality and witnessed the mysteries that they present, Carell is really doing some good simulation here.

1. Micheal Keaton — Birdman

Last year, on the subject of Actor in a Leadership Role, this blog wrote, “With Daniel Day-Lewis out becoming a stone mason for the next five years, I think folks like Bale, DiCaprio, and Michael Keaton have a real chance to break through.”

Ethics 101.

Shall win: Eddie Redmayne


Most Supportive Man:

N/A — Robert Duvall — The Judge (role unseen)

4. Ethan Hawke — Boyhood

3. Edward Norton — Birdman

Kind of disturbing now that I know his role was in many ways, and self-avowedly, Innaritu himself.

2. Mark Ruffalo — Foxcatcher

Really brings into the communication posture lexicon the little t-rex thing wrestlers apparently develop. Exudes brotherly concern at hypercritical levels.

1. J. K. Simmons — Whiplash

The obvious hook is his ability to go over the top, but as with all the great roles it’s the little off-beats and pauses that really bring things to life. Draws out and gives room to a strong performance from co-lead and relative newcomer Miles Teller.

Shall win: J.K. Simmons


Queen of the Castle:

5. Felicity Jones — The Theory of Everything

This makes Ms. Jones the first actress to receive a nomination for a role in a Horror film since Ellen Page in Juno (2007). Good show!

4. Reese Witherspoon — Wild

3. Marion Cotillard — Two Days, One Night

2. Julianne Moore — Still Alice

1. Rosamund Pike — Gone Girl

One of the things that doesn’t seem to get discussed about Gone Girl is just the degree to which it really is a vehicle for her performance. Everything else is furniture.

Shall win: Julianne Moore


Number 1 Better Half:

N/A Meryl Streep (role unseen)

4. Keira Knightley — The Imitation Game

Pip pip, old boy!

3. Emma Stone — Birdman

I often tell friends they should start making films with the title and simple concept of “Actor A vs. Actor B”. For example, “Michael Shannon vs. Willem Dafoe” or “Tom Cruise vs. Tom Hanks”. We almost got “Nic Cage vs. John Travolta” with Face/Off, but even that strayed a bit from the core man vs. man dialectic. “Emma Stone vs. Jennifer Lawrence” could be good.

2. Patricia Arquette — Boyhood

Such unhappiness!

1. Laura Dern — Wild

Continues to be the most effectively alarming presence in unexpected jump cuts in film today.

Shall win: Patricia Arquette


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