As a person who is both perpetually behind schedule and wont to neglect my duties, I have neglected to write a single review of any of the Oscar nominated films of 2013. This sad reality has led to this: an informal consideration less than a day before the ceremony. To be candid, I lost what little interest I had when my personal favorite film of the year (which I will withhold, for now) failed to receive a nomination in any of the major categories, save Cinematography (definitely deserved, although it will not win. Gravity will surely take the prize this year). This was an affront to my cinematic sensibilities. I'm sure the Coens could really care less. Still, it is a shameful snub, though not entirely surprising. The Oscars have a history of ignoring the right films and praising the wrong ones (see Argo's Best Picture win last year); this can probably be accounted for in its demographics. 77% of the Academy is male, 94% is white, and the median age is a whopping 62.
As a result of this, most real cinephiles (and most people involved in the film industry) recognize that this particular awards show, and all awards shows, really, doesn't mean all that much in terms of artistic achievement. That sentiment, however, doesn't erase the historic and cultural significance of an Academy Award, as well as the potential for increased publicity and expanded opportunities.
In conclusion: The Academy Awards are stodgy and frustrating (unless you're a 62 year old white man), but still manage to retain their prestige.
Let's talk movies. I'm not going to discuss Philomena at all, because I have absolutely no interest in seeing sentimentalized Hollywood drivel, although I really do adore Steve Coogan. Also not on the list is Her, simply because I haven't yet seen it.
If you need to be reminded of the various nominees, please go here for the official list.
First things first: I was monumentally disappointed in Martin Scorsese's The Wolf of Wall Street, which took everything that I hated about Goodfellas and amplified it to 11. Scorsese's trademark ebullience was ineffective precisely because of the film's inability to create any kind of complexity. The film took an entire three hours to hit (scream) a single note (DEBAUCHERY! OVERINDULGENCE! DISHONESTY!) over and over again, without variation. As a satire, it seemed entirely unconscious of itself, making it boring to watch despite all of the activity on screen. Leonardo DiCaprio and Jonah Hill are adequate, each making an entertaining spectacle of their characters without injecting any nuance into their performance. All-in-all, I don't think this film earned any of its nominations.
Although American Hustle is not without its flaws (read: sloppy plot line and slick self-awareness), it does manage to succeed where Wolf of Wall Street fails, offering its audience comedy as well as complexity (!). I think this film is very much held afloat by Amy Adams, who delivers marvelously. With all her charisma, Jennifer Lawrence manages to hook her red talons/nails, although her performance is a little exaggerated. Christian Bale is good but not great, and Bradley Cooper just doesn't cut it. The mania that suited him perfectly in Silver Linings Playbook is too much here. I don't think American Hustle should win for Best Picture or Director due to its overwhelming structural flaws, but Adams should be recognized for Best Actress, and the film definitely deserves a nod for its elaborate costumes.
Gravity does not live up to its hype; the only thing it has going is its absolutely stunning visuals. The screenplay is very clumsy and heavy-handed, the characters are not fleshed out, and the film is poorly paced. Nonetheless, this may win for Best Picture, as it is such an innocuous, visually spectacular crowd pleaser in the vein of a James Cameron "epic."
12 Years a Slave is an achievement, to say the least. Steve McQueen couldn't have managed a more debilitating examination of the American tragedy that was the institution of slavery. He keeps sentimentality out of the film entirely, brutally forcing his audience to confront one of the worst offenses in human history. The acting in this film is first class all-around (except for a certain producer and movie-star extraordinaire, but that's really beside the point), and the cinematography is breathtakingly beautiful, a graceful contrast to the ruthlessness of McQueen's images. Ejiofor, N'yongo, and Fassbender all deserve to win in their respective categories, as does McQueen for direction, and the film for best picture. It's difficult to predict if the Academy will embrace the film as a whole, over safer choices like Gravity.
Dallas Buyer's Club is everything a great film should be: well-structured, emotional, and impeccably acted. Matthew McConaughey and Jared Leto both shine in this film, and both underwent incredible physical transformations in order to play their respective roles (which the Academy notoriously adores. The showier the performance, the better). I wouldn't be upset if eithier of these actors were recognized tomorrow night, and I also would not be shocked or enraged if the film was recognized as best picture.
Honestly, Captain Phillips does not belong here any more than Philomena does. It was a perfectly adequate action film, with an interesting subtext that examines the failure of the American dream, which we have seen in both The Wolf of Wall Street and American Hustle year. Everything about Captain Phillips is good, but nothing is really great. It pains me greatly to think that this is taking up Inside Llewyn Davis's or Short Term 12's spot.
Finally, Nebraska. I loved this film very much, but as it is, for the most part, quiet and understated compared to its brethren, it will probably be overlooked. The only criticism I have is for June Squibb's character, who seems like a parody of the 'grandma who spots profanities' that we have seen a million times before. Other than that, the movie is honest and true and sweet, and I am pleased that it received mainstream acknowledgement. I would b ecstatic if Bruce Dern saw a win. I really think DeNiro should consider following in his footsteps.
I also want to briefly mention The Act of Killing. This should, by all accounts, win Best Documentary, as it is one of the most exhausting and challenging films that I have ever seen. I also found three Best Foreign Film nominees to be of note: The Broken Circle Breakdown (Belgium), The Hunt (Denmark), and The Great Beauty (Italy).
I'll be posting my picks and predictions (in two separate lists, of course) before tomorrow night's ceremony. Please look for my in-depth reviews of the films mentioned above in the coming weeks.
In closing, I would like to suggest that on Monday, after watching at least fours hours of stuffy television, you sit down and enjoy one of the great films the Oscars managed to under appreciate, overlook, or entirely ignore. Inside Llewyn Davis, Short Term 12, Blue Jasmine, Before Midnight, Blackfish, Wadaja, or Blue is the Warmest Color would be a few great places to start.
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