The Big Short – A hyper stylised pop-culture cacophony that completely lost me. It’s a spectacular take on the lead up to the 2008 recession courtesy of Adam McKay. I didn’t care much for the details (because I struggled to keep up) but the context within which McKay envisions the decaying morals of Wall Street has earned my appreciation. Using sporadic montages and Wolf of Wall Street-esque excess, the camera finds ways to keep us aware that we are part of the problem. It’s passionate, energetic and a really fun ride. The questions it poses are haunting – but I guess the lasting question is: will anyone pay attention this time?
Predictions: Best Adapted Screenplay
Bridge of Spies – Steven Spielberg might not produce another classic in his career, but he still makes really well constructed films. This political espionage drama is just a solid addition in his canon. Nothing is terribly showy or ostentatious – although perhaps some of the final moments need a shout out as having a mild odor of maladroit – it’s just a well made film. It’s a surprise to see it nominated, so I suspect that the nomination will end up being the prize.
Brooklyn – An absolutely charming romance that constantly flutters with the line of forced emotion but really deserves its accolades for how honestly the story plays. It’s appropriately saccharine and brilliantly performed. One reviewer made the point that “it engages its ethnicity without succumbing to stereotypes” which I think is another appropriate angle to appreciate this engaging film. One of only two best picture nominees with female protagonists, this won’t take home the awards but it certainly had me crying for no less than a third of the running time.
Mad Max: Fury Road – The remarkable achievement in this film is the action sequences. There’s a solid narrative to motivate it, and a diegesis where all of the production contributes in making it pulse way beyond the screen, but it really is the action that is remarkable. It’s the layering and complexity of the choreography that had me in awe. With so many multiple planes of action, the experience was totally immersive. The editing was flawless capturing the unique Miller style without losing the fluidity of the action. A total winner, and should romp home with some technical awards but should also be appreciated for the depth of the story that holds it together.
Predictions: Best Editing; Best Production Design; Best Make-Up; Best Sound Design; Best Sound Mixing, Best Costume Design
The Martian – I think it was on twitter where I read the comment: “how boring were the bits of The Martian without Matt Damon in them?” I remembered that comment when I was introduced to approximately the fifteenth broadly drawn stereotype of NASA’s team. The problem here is obvious – half the film is devoted to one man by himself and his story is compelling. The other half draws on about two dozen characters that are characterised with indifferent care, using only familiar tropes so that the exposition can be passed on. It falls regrettably into the procedural genre, but without the emotional weight needed to make this truly soar.
The Revenant – As a viewing experience, The Revenant is an undeniably moving experience with its raw intensity and cinematic beauty. However, since that experience, I’ve become more cynical about the film as the reductive story become more clear once the power of the imagery is taken aware. Ultimately it is a story of revenge, but without any nuance or complication. The villain and hero are painted in such familiar stereotypes by the script devoid of subtlety. The side players are also plainly placed in familiar molds. So what’s left is a beautifully shot standard story with all too familiar Hollywood storytelling issues.
Predictions: Best Film; Best Director; Best Actor (Leonardo DiCaprio); Best Cinematography
Room – A brilliantly crafted adaptation of a book that I will never forget reading. There are some extremely smart decisions that have gone into this interpretation. It remains true to the source in significant ways, most importantly maintaining the child’s subjective view of the circumstances. This is what allowing the story to be so emotionally engaging, rather than some distant nightmare, experienced vicariously.
Predictions: Best Actress (Brie Larson)
Spotlight – This is such an important film for keeping the content (which I had effectively forgotten) relevant and remembered. As a film this is spectacularly well crafted. The narrative is controlled expertly, exploring lots of facets of the case. The procedural conventions are on display here, but there’s so much energy in the performances that the familiarity doesn’t feel stale. Keaton is subtle and layered in his approach to a character that ends up being a lot more complex than he first appears.
Predictions: Best Original Screenplay
Other Winners: Best Supporting Actress – Alicia Vikander (The Danish Girl); Best Supporting Actor – Sylvester Stallone (Creed); Best Animated Film – Inside Out; Best Documentary – Amy; Best Original Score – Hateful Eight; Best Visual Effects – Star Wars: The Force Awakens
The winners should be: Best Film – Mad Max: Fury Road; Best Director – George Miller (Mad Max: Fury Road); Best Actor – Michael Fassbender (Steve Jobs); Best Actress – Saoirse Ronan (Brooklyn) or Charlotte Rampling (45 Years) or Kitana Kiki Rodriguez (Tangerine); Best Supporting Actress: Alicia Vikander (Ex Machina); Best Supporting Actor – Mark Rylance (Bridge of Spies)
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Chicargill's Media Musings 