Oscars 2019 proved that you don’t need a host to produce a watchable awards show but you do need at least a handful charismatic stars, inspiring musical moments, unexpected wins and, of course, heartfelt speeches.
This year’s show featured all of the above and often did it quite well – sometimes a little too well.
There was something ultimately schizophrenic about the show, the choices and the moments the evening offered. It was as if the members of the Academy were so unsure of what they truly loved this year in cinema that they decided to people please and pick almost everyone from as many films as it could.
See: Green Book
Green Book took home the top prize of best picture while its director, Peter Farrelly, was not even nominated in his category. Roma won Alfonso Cuaron best director and cinematographer but his movie was passed over for best film. (Note: It did win foreign film, meaning it’s only the best if…you don’t speak English?).
Spike Lee won his first competitive Oscar trophy ever for co-writing BlackKklansman but was passed over in the director category, as was his film for best picture.
But he did give us one of the best shots from the whole show
Glenn Close, who had already won almost everything during this awards season, became the first actress to be nominated SEVEN times for acting Oscars without a win. Olivia Colman won best actress for The Favourite in a bit of an upset over the heavily favored Ms. Close (The Wife), while Rami Malek swept in as best actor winner for bringing beloved Queen front man Freddie Mercury back to life onscreen in Bohemian Rhapsody.
We know Glenny.
Though interestingly, neither of the two top actor winners appeared in the movies awarded either best film, director or screenplay, either original or adapted.
Rounding out, or perhaps butter knifing around the gold, Black Panther, the biggest box-office hit nominated, took top prizes for score, production and costume design; A Star Is Born (the second biggest b.o. juggernaut) won best song; and Regina King was bestowed best supporting actress honors for If Beale Street Could Talk.
Of course, there is nothing wrong with spreading the wealth around. But by the time Green Book was announced as best picture, veteran Oscar watchers couldn’t help but recall that time almost thirty years ago when another middle-of-the-road road movie about race, Driving Miss Daisy, won the best picture prize despite the Academy denying its director, Bruce Beresford, even a nomination in his category.
One supposes it is better for voters to widely disperse the joy rather than to ignore artists like Mr. Lee, whose more cutting edge film on race in 1989, Do The Right Thing, failed to gain either a best picture or director nomination and was subsequently overlooked in one of the few categories it was even nominated for – best original screenplay. It took three decades but in 2019 the Academy managed to give Mr. Lee just a bit of his competitive due while still denying yet another of his masterpiece movies about race a win in favor of yet another rival film that chose the safer, more benign Driving Miss Daisy-ish route.
Look! They are in a car! How genius!
Whether that compromise was enough (Note: Um, no..) and others got too much (Note: Uh, hella yes..) is for each of us to say this week and then forever hold our pieces because that’s about how long the conversation will remain relevant to anyone given what’s in the zeitgeist these days.
What will hang around a bit longer is the memory of Melissa McCarthy entering the stage in a comic riff on The Favourite’s Queen dragging a train strewn with stuffed bunny rabbits, one of which somehow became situated on her hand and helped her to open an envelope.
Personally, I marveled at the age-defying beauty of actors like Angela Bassett and Paul Rudd, who will respectively turn 61 and 50 this year. As Rosemary Woodhouse once said about her intimate evening with the Devil: IT CAN’T BE!
But like.. HOW?!
Even better was the opening musical number where the remaining members of Queen, aided greatly by Adam Lambert as its fill-in front man, gave us a soaring song in tribute to Freddie Mercury, whose larger than life image looked on from above.
Equally riveting in a totally different way was when Lady Gaga and Bradley Cooper performed a stripped down version of their film’s mega-hit (and now Oscar winner) “Shallow” and managed to turn the Dolby Theatre stage into a master class pairing of artistry and intimacy.
Um… his wife was 5ft away. #icant #THEHEAT
It was also fun to watch Tina Fey, Amy Poehler and Maya Rudolph goof it up in an elongated comic bit early on and actually prove you can still be fresh and funny on any awards stage. Ditto Awkwafina and John Mulaney presenting best-animated short.
Was any of this indelibly memorable? Not exactly, but it was fun and watchable. This may or may not translate into a ratings boost from the all-time low numbers of last year’s Oscar broadcast, which is pretty much all the Academy and network seems to care about at this point anyway.
Welp, there it is.
That and no doubt the fact that in giving Universal’s Green Book this year’s best picture Oscar over Netflix’s Roma, both could breathe a huge collective sigh of relief for denying the streaming giant any more of the industry gold it had already managed to swipe right out from under their collective noses.
No, I’m not being snide here. It would’ve been VERY cool. Though granted, that’s a low bar when anything about this year’s Oscars comes up.
One bone-headed decision after another, starting with a proposed best popular film (Note: Is all that money not award enough?); to announcing well-known homophobic tweeter Kevin Hart (Note: Um, yeah, it was all out there on the record, numerous times and in various publications) as its host; to relegating four award categories – editing, cinematography, makeup/hair and live action short – to off-screen status (Note: #AlsoRescinded #Speechless).
I can’t… it’s just beyond
What this leaves us with now is for the second time in its history the Oscars will have no host, a tarnished brand at the hands of its ratings grubbing upper management and a membership and general public that either doesn’t care or is too pissed off at the organization to care to.
Well, in truth it does leave us with one last thing: the awards themselves.
YES! THE AWARDS! THEY ARE SO SHINY!!
The higher purpose of the Oscars has always been to honor excellence at the movies. It might not often succeed in the task but watching the times that it does (Note: And yes, doesn’t) has become an international pastime for decades.
Long before the Academy chose to pimp its brand for ratings, there was still the pose of searching for excellence, of wanting to reward some of the year’s films that surprised us, touched us or simply entertained us in their own unique ways.
It is in the spirit of hoping that the headlines this year will be about which truly memorable films won in the categories they deserved to (Note: Or didn’t but should have) that we present:
THIS YEAR’S CHAIR’S OSCAR PICKS:
“A Star Is Born”
Everyone is saying this is the toughest best picture field in years to predict. Maybe. Or maybe we’re overthinking it.
For my money, “BlacKkKlansman” was the best of the year. Great story telling, fantastic directing, artistic in all departments, original where it could have been obvious and, perish the thought, a timely message.
This is not the say the other films don’t have their merits. They do (Note: Well, most of them. Don’t get me started on Cheney). However, it feels like “Roma” is the inevitable winner here. It’s lush and different and addresses race and class in the more muted manner the Academy en masse tends to respond to.
Had there not been so much controversy about the veracity of the facts in “Green Book” there might be a different outcome. But this will not be so.
P.S. Cinema purists will be heard ranting and raving everywhere for days afterwards when Netflix picks up its first best picture win. They are the same types of people who swore talkies and TV would kill the movies.
Who will bring home the gold?
Spike Lee, “BlacKkKlansman”
Pawel Pawlikowski, “Cold War”
Yorgos Lanthimos, “The Favourite”
Alfonso Cuarón, “Roma”
Adam McKay, “Vice”
I will repeat past pronouncements – this is Spike Lee’s FIRST EVER directing Oscar nomination. Truthfully, he should win and had he not been nominated this year in the adapted screenplay category he’d have a solid shot. But it feels like Alfonso Cuarón will win for a memory piece that has managed to touch people in numerous and very different ways. Though I was not one of them, the grandeur of “Roma” and the awards he’s already received from so many other organizations make his win here almost inevitable.
For this scene alone, most likely
Christian Bale, “Vice”
Bradley Cooper, “A Star Is Born”
Willem Dafoe, “At Eternity’s Gate”
Rami Malek, “Bohemian Rhapsody”
Viggo Mortensen, “Green Book”
Every one of these actors had great moments in their nominated films. But Rami Malek’s performance transcended the film and seemed to literally bring long deceased and beloved Queen front man Freddie Mercury back to life. Not only that, he did it in a joyful way, a gift that should never be underestimated in today’s marketplace of despai…Okay, let’s not go there.
FYI, they should have found a spot to at least nominate Ethan Hawke for a career-making performance in “First Reformed.”
Get ready to kiss her again, Gaga
Yalitza Aparicio, “Roma”
Glenn Close, “The Wife”
Olivia Colman, “The Favourite”
Lady Gaga, “A Star Is Born”
Melissa McCarthy, “Can You Ever Forgive Me?”
This is the seventh Oscar nomination for acting Glenn Close has received. She has never won. Keep repeating that to yourself and watch the instantaneous standing ovation when her name is called.
And yes, she was quite good in “The Wife.”
Put it in the books
Mahershala Ali, “Green Book”
Adam Driver, “BlacKkKlansman”
Sam Elliott, “A Star Is Born”
Richard E. Grant, “Can You Ever Forgive Me?”
Sam Rockwell, “Vice”
It should be Richard E. Grant for taking what could have been an easy cliché of an early 90s gay man and turning him into something bittersweet and brilliant. He wasn’t written cliché but, well, you know these things have been known to happen.
Still, that isn’t the point here. Mahershala Ali will likely pick up his second Oscar in this category for a focused, committed and nuanced performance of another type of gay man. Someone a bit more heroic, talented and certainly a lot better dressed.
Amy Adams, “Vice”
Marina de Tavira, “Roma”
Regina King, “If Beale Street Could Talk”
Emma Stone, “The Favourite”
Rachel Weisz, “The Favourite”
It will be nice to see an actress as talented as Regina King pick up the Oscar for portraying a three-dimensional character of a Black mom in “If Beale Street Could Talk.” Her solid performance gave the film a weight and a foundation and for that, as well as for all the nuance she brought, she will be rewarded.
If the Academy were to go another way there would be nothing wrong with rewarding Amy Adams for her terrifying take on Lynne (Mrs. Dick) Cheney. She actually managed to almost humanize her. (almost)
“Isle of Dogs”
“Ralph Breaks the Internet”
“Spider-Man: Into the Spider-Verse”
This is a no brainer for anyone wanting a shot at winning this year’s Oscar pool. “Spiderman: Into the Spiderverse” WILL win.
Still thinking about this scene #goRuthgo
“Hale County This Morning, This Evening”
“Minding the Gap”
“Of Fathers and Sons”
Tough one. “Free Solo” feels like the best piece of filmmaking but seriously, whenever the world underestimates Ruth Bader Ginsberg the RBG effect kicks in and it’s usually for the good of all. Besides, it’s a charming story of a one of a kind warrior. So go with “RBG.” Not to mention, don’t you think the MAJORITY of Academy voters want to see HER on the Oscar stage?
I’m going out on a limb and picking one of my favorite films of the year – “Cold War.” Any director who can tell his parents love story and keep it sick, dysfunctional, sexy and scary is okay in my book. Perhaps it’s silly for the Academy to award “Roma” best picture and not give it the win here but, then again, isn’t it silly to vote for it in both?
“The Ballad of Buster Scruggs,” Joel Coen , Ethan Coen
“BlacKkKlansman,” Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee
“Can You Ever Forgive Me?,” Nicole Holofcener and Jeff Whitty
“If Beale Street Could Talk,” Barry Jenkins
“A Star Is Born,” Eric Roth, Bradley Cooper, Will Fetters
My premise: “BlackKklansman” is deserving in this category but a win here would be one way Academy voters can finally give Spike Lee an Oscar win without having to go too far out on a limb and deny Cuarón the best director Oscar for “Roma.”
FYI, “Can You Ever Forgive Me” was an equally good screenplay in an entirely different way and would also certainly deserve the win here. And after winning the WGA award, is certainly a dark horse choice.
“The Favourite,” Deborah Davis, Tony McNamara
“First Reformed,” Paul Schrader
“Green Book,” Nick Vallelonga, Brian Currie, Peter Farrelly
“Roma,” Alfonso Cuarón
“Vice,” Adam McKay
This is usually my favorite category (ahem) and this year it’s the one I like the least. I just didn’t find either “Vice” or “Roma” to be particularly good screenplays. “The Favourite” was too in love with how naughty it was being. “Green Book” seemed like a film from the 1980s but not in a good way.
That leaves “First Reformed” which, truly, SHOULD win. It had the type of originality and intelligence we don’t get often enough onscreen anymore. Not to mention this is the FIRST OSCAR NOMINATION for it screenwriter, Paul Schrader? The guy who write “Taxi Driver, “Raging Bull” “Hardcore,” “American Gigolo,” etc. etc.?
Yeah, but, um, he likely won’t win. The members of the Academy en masse are too in love with the pose of being naughty rather than the actual real life naughtiness Mr. Schrader markets in. Therefore, look out for the writers of “The Favourite” to pick up their undeserved Oscar.
OK OK it wins
“Cold War,” Lukasz Zal
“The Favourite,” Robbie Ryan
“Never Look Away,” Caleb Deschanel
“Roma,” Alfonso Cuarón
“A Star Is Born,” Matthew Libatique
It’s Cuarón for “Roma.” Yup, he shot it too. And I agree, it looks beautiful and it’s haunting. Just make it stop.
“The Ballad of Buster Scruggs,” Mary Zophres
“Black Panther,” Ruth E. Carter
“The Favourite,” Sandy Powell
“Mary Poppins Returns,” Sandy Powell
“Mary Queen of Scots,” Alexandra Byrne
I’m just gonna say it – Ruth Carter should win for making Wakanda come alive in “Black Panther.” And I’m picking her for the win. Logic says that it’s always one of those royal so and sos that swoop in on a cloud of crinoline and steal the whole shebang. But let’s count on the Academy not being stupid enough to do it this time since there are two queens competing in this category. That we know of.
“BlacKkKlansman,” Barry Alexander Brown
“Bohemian Rhapsody,” John Ottman
“Green Book,” Patrick J. Don Vito
“The Favourite,” Yorgos Mavropsaridis
“Vice,” Hank Corwin
It feels like all the musical mash-ups in “Bohemian Rhapsody” give it the edge so let’s give that film the nod – along with its editor John Ottman. #Galillelo!! #Galilelo!!! #Galilelo!!!!!!!!!!!!!!!!
Makeup and Hairstyling
It pains me to even post this picture #shiversdownmyspine
“Mary Queen of Scots”
The only thing that could get me to vote for “Vice” is a team of people (Greg Cannom, Kate Biscoe and Patricia Dehaney) that can make a hot actor like Christian Bale morph believably into the hideous gargoyle creature we refer to as Dick Cheney. Would that such things were not possible.
Admit it, just seeing this pic makes you start to sing it in your head
“All The Stars” from “Black Panther” by Kendrick Lamar, SZA
“I’ll Fight” from “RBG” by Diane Warren, Jennifer Hudson
“The Place Where Lost Things Go” from “Mary Poppins Returns” by Marc Shaiman, Scott Wittman
“Shallow” from “A Star Is Born” by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice
“When A Cowboy Trades His Spurs For Wings” from “The Ballad of Buster Scruggs” by David Rawlings and Gillian Welch
“…In the sha-a-a-allow…we’re far from the shallow now….” Gaga deserves it. Get used to it.
“BlacKkKlansman,” Terence Blanchard
“Black Panther,” Ludwig Goransson
“If Beale Street Could Talk,” Nicholas Britell
“Isle of Dogs,” Alexandre Desplat
“Mary Poppins Returns,” Marc Shaiman, Scott Wittman
The “Black Panther” score had the kind of verve and sense of purpose that made Wakanda come alive. This is, however, a close category and any four of the five nominees could win. #MaryWontBeReturning.
“Black Panther,” Hannah Beachler
“First Man,” Nathan Crowley, Kathy Lucas
“The Favourite,” Fiona Crombie, Alice Felton
“Mary Poppins Returns,” John Myhre, Gordon Sim
“Roma,” Eugenio Caballero, Bárbara Enrı́quez
Ugh. Fine. “The Favourite.” Here you go, Fiona Crombie. Go rent another castle.
It’s the truth, honey!
“Black Panther,” Benjamin A. Burtt, Steve Boeddeker
“Bohemian Rhapsody,” John Warhurst
“First Man,” Ai-Ling Lee, Mildred Iatrou Morgan
“A Quiet Place,” Ethan Van der Ryn, Erik Aadahl
“Roma,” Sergio Diaz, Skip Lievsay
Well, I mean, who knows? Do you? But since “A Quiet Place” is a movie all about not being able to make sound, let’s not choose that. It’s too quiet! So maybe the first man on the moon? Again, there’s not much sound in space. So I’m thinking….
…Thunderbolts and lightning, Very, very frightening!!!! – “Bohemian Rhapsody”
“A Star Is Born”
Scaramouche, scaramouche, can you hear the…”Bohemian Rhapsody.”
“Avengers: Infinity War”
“Ready Player One”
“Solo: A Star Wars Story”
If a biopic about famed astronaut Neil Armstrong can’t win the visual effects Oscar, well….don’t worry, it will. “First Man.”
You’re welcome, Ryan.
Animated Short Film
“Animal Behaviour,” Alison Snowden, David Fine
“Bao,” Domee Shi
“Late Afternoon,” Louise Bagnall
“One Small Step,” Andrew Chesworth, Bobby Pontillas
“Weekends,” Trevor Jimenez
I’ve actually watched them all and it’s a strange lot this year. There is only one even vaguely happy entry – “Bao.” It’s sweet and touching and for my money, the best of the five. Some say there is a Pixar backlash but I don’t think it’ll matter. Still, if you’re looking for a second choice go with “Weekends.”
Live Action Short Film
“Detainment,” Vincent Lambe
“Fauve,” Jeremy Comte
“Marguerite,” Marianne Farley
“Mother,” Rodrigo Sorogoyen
“Skin,” Guy Nattiv
I like dramatic shorts more than anyone but yeesh, this was a disturbingly sad bunch. “Detainment” was clearly the most riveting but there was some controversy in the telling of this real life story. “Skin” ultimately became predictable though it was well-acted. That leaves “Marguerite,” the kind of slice of life story that might just squeak through. They could do worse and just might when the winner is revealed.
Documentary Short Subject
“Black Sheep,” Ed Perkins
“End Game,” Rob Epstein, Jeffrey Friedman
“Lifeboat,” Skye Fitzgerald
“A Night at the Garden,” Marshall Curry
“Period. End of Sentence.,” Rayka Zehtabchi
This is an eclectic group where any one of the five could win. “A Night at the Garden” is brilliant and timely though it’s really found footage that’s been assembled. On the other hand, there’s never been a film about trying to educate women in India about sanitary pads and how to make and distribute them on their own. So let’s go with “Period. End of Sentence.” And not just because it’s the snappiest way to end this post…even though it is.