2016 Oscars / Mad Oscar: Fury Carpet; or “The world’s always changing brightness, and hotness.”

[Spoilers ahead]

“This is not only for the survivors of this horrific situation. But for me personally, and [I’ll] only speak for me, this is really for the disenfranchised everywhere. This is for every Flint, Michigan in the world. This is for the powerless. This is for the powerful who take advantage of the powerless.”  —Michael Keaton

George Clooney: “I would also make the argument, I don’t think it’s a problem of who you’re picking as much as it is: How many options are available to minorities in film, particularly in quality films?”


Best of All Pictures

8. Brooklyn
Never rises much above your standard immigrant’s tale. I never cared whether she picked Ireland or the U.S., to the extent both places are depicted as boring and not a little bit stupid. Too much maudlin yearning for domesticity. America was never innocent, as the film often seems to suggest.

7. The Martian
A lot of the film is an extended commercial for NASA, which consulted heavily on it. Snugly slots into the recent series of space-catastrophe movies. Like the others, it’s rather well-done overall, but stays shrouded in its own next-frontierism fog.

6. Spotlight
Important story that’s hard to translate to the screen–the gravity and impact of the issue is difficult to fully capture. I love investigative journalism and appreciate the focus on it here, but the moves and discoveries lack the pop and sizzle they probably had in real life. Thethirdrevelation correctly predicted it to be a high-floor, good-but-limited-ceiling procedural. Tom McCarthy said he fought to keep in the two to three minutes of Excel spreadsheets shots and the like, and I love that for its accuracy and its implicit endorsement of putting the work in even if it’s mind-numbing at times. It all feels relatively bloodless though, with victims more peppered in than followed. There are a couple of scenes Michael Keaton has that are emblematic of the film’s high-floor, good-but-limited-ceiling character: you want them to be great, but they’re boxed into being good only. I did like him winning the New York Film Critics award for Best Actor. Good use of Boston as a filming location.

5. Bridge of Spies
Liked this more than I thought I would, after getting the impression that it was simply Spielberg moving his terrorized action-child theme to a protecting & principled-patriarch one. Whole chunks of it are rather cookie cutter–though not uninteresting or without heart–until the end, when the last few moments brought it home for me. It’s about doing things despite not knowing the payoff, i.e. going on principles. It’s also about the enormity of social and political issues and systems, and the idea that the individual can do something in the face of them. Has several well-constructed and well-placed taut scenes rife with symbolism. An arguably instant classic entry in the “Everyman Rises to the Occasion and Accomplishes Something Great” category (Reluctant Warrior supracategory), and raises the question of whether or not we have a thinner stable of quality leaders today than in the past. Depicts the high stakes well. T.Hanks delivers classic tenacity in classic T.Hanks style. Smooth performance by Mark Rylance. His character’s “Would it help?” is rather good as far as black-humor lines go. Leaves you with one special docket for your passport so you can do all the special negotiating you need to.

4. Room
The film isn’t much more than the performances of Brie Larson and Jacob Tremblay, but that’s plenty. Larson meets the big challenge of having to do the character in both the character’s captured and freed states. Tremblay’s character has some choice “out of the mouths of babes” quotes, including the following after he escapes: “The world’s like all TV planets on at the same time, so I don’t know which way to look and listen. There’s doors and…more doors. And behind all the doors, there’s another inside, and another outside. And things happen, happen, HAPPENING. It never stops. Plus, the world’s always changing brightness, and hotness.” Yeah, you’re telling me kid.

3. The Revenant
I continue to be leery of Iñárritu, and the film was certainly a little much–as thethirdrevelation pointed out–on the symbolic, the magic–including the magic Indians–and the narrative incoherence. Yet I might not deduct a lot on those, if for no other reason than I don’t expect much else from the guy. I didn’t mind the hyperreal. The whole thing is beautiful to look at and something to contemplate and meditate on, and that’s probably worth at least one bag of popcorn. A strong, and pretty well-depticted ravenousness theme runs through it; it may have actually lifted shots and scenes directly from Ravenous. I also liked Fitzgerald’s Nitschean squirrel speech–probably the best part of the whole film. The film does get a little too ponderous and is limited by its revenge theme. Leo vs. the Hardy Boy proves a solid foundation though, plus we get a serviceable Domnhall Gleeson who will think twice about mercy-killing you. From Wes Morris: “Melena, have you seen the Instagram photos of a Revenant screening/sleepover that Oprah Winfrey hosted? The people who love this movie *love* it. Apparently, the Hollywood Foreign Press Association had an ecstatic sleepover, too. I’m milder about it, but Mr. DiCaprio’s best actor speech, in which, at the end, he makes seemingly sincere acknowledgement of American Indians who play a larger more contemplative role in that movie and asserts that they deserve more from this country. Bravo. Still, this is a movie about the suffering of a man played by Mr. DiCaprio.”

2. The Big Short
The first third or so is shaky, marked by unsuccessful attempts at humor, but it builds up steam pretty well as it goes, namely as it gets more serious. The last third to half is solid, at least insofar as it’s getting at civilizational edifices, and the warp and weave of societal rot and the economic collapse. It uses (acquisitive) masculinities to criticize (rapacious) hypermasculinities to show the extremes to which we’ve been pulled; here it’s akin to Rust Cole telling Marty Hart that “The world needs bad men. We keep other bad men from the door.” We also get a tonic of Christian Bale doing Rain Man Light with an infusion of Patrick Bateman. The film is a good addition to a series that includes Inside Job and Margin Call. I liked it better than Wolf of Wall Street, which I didn’t think was critical enough. It leaves you with a dream of Wall St. regulations with teeth. As it tells us at the end, and as Bernie Sanders is pointing out on the campaign trail, this extraordinarily destructive, wanton gambling with other people’s lives through financial speculation is ongoing.

Michael Burry at work

Michael Burry at work

Goldman to Pay Up to $5 Billion to Settle Claims of Faulty Mortgages

Ought to win: Mad Max: Fury Road
A great, almost seamless blend of action, ideas, issues, and the meditative. Its feminism is in its depiction of men and women working together for mutual liberation. When Imperator Furiosa kneels in the sand, we acutely feel her pain.

Will win: The Revenant


Number One Better Half
5. Rooney Mara
4. Rachel McAdams
3. Alicia Vikander
2. Jennifer Jason Leigh
Ought to win: Kate Winslet
Will win: Vikander

Most Supportive Man
5. Mark Ruffalo
4. Sylvester Stallone
3. Mark Rylance
2. Christian Bale
Ought to win: Tom Hardy
Will win: Stallone

Queen of the Castle
5. Charlotte Rampling
4. Jennifer Lawrence
3. Saorise Ronan
2. Cate Blanchett
Ought to win: Brie Larson
Will win: Larson

Superlative Actor in a Leadership Role
5. Bryan Cranston
4. Eddie Redmayne
3. Matt Damon
2. Leonardo DiCaprio
Ought to win: Michael Fassbender
Will win: DiCaprio

Best of All Directors
5. Tom McCarthy
4. Alejandro Iñárritu
3. Adam McKay
2. Lenny Abrahamson
Ought to win: George Miller
Will win: Iñárritu

Best Adapted Screenplay
5. Brooklyn
4. The Martian
3. Carol
2. Room
Ought to win: The Big Short
Will win: The Big Short

5. The Hateful Eight
4. Carol
3. Sicario
2. Mad Max: Fury Road
Ought to win: The Revenant
Will win: The Revenant

Visual Effects
5. The Martian
4. The Revenant
3. Star Wars: The Force Awakens
2. Mad Max: Fury Road
Ought to win: Ex Machina
Will win: Mad Max: Fury Road

Film Editing
5. Star Wars: The Force Awakens
4. Spotlight
3. The Big Short
2. The Revenant
Ought to win: Mad Max: Fury Road
Will win: Mad Max: Fury Road

Production Design
5. The Danish Girl
4. The Martian
3. Bridge of Spies
2. The Revenant
Ought to win: Mad Max: Fury Road
Will win: Mad Max: Fury Road

5. Star Wars: The Force Awakens
4. Bridge of Spies
3. The Hateful Eight
2. Carol
Ought to win: Sicario
Will win: The Hateful Eight

Sound Editing
5. The Martian
4. Star Wars: The Force Awakens
3. Sicario
2. The Revenant
Ought to win: Mad Max: Fury Road
Will win: Mad Max: Fury Road

Sound Mixing
5. Bridge of Spies
4. The Martian
3. Star Wars: The Force Awakens
2. The Revenant
Ought to win: Mad Max: Fury Road
Will win: Mad Max: Fury Road

Sometimes you have to ride off a cliff and be reborn from a dead horse to win an Oscar.

Sometimes you have to ride off a cliff and be reborn from a dead horse to win an Oscar.


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