Our 2021 Oscar Picks

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For reasons that require no elaboration, 2020 was an odd movie year. Many of us consider ourselves fortunate to be alive and healthy and knowing that movies are still being made. Theatres were closed down, both temporarily and, in the case of Arclight and Pacific Theaters, permanently. The experience of sharing a movie with an auditorium full of strangers was not available to us for the first time in my lifetime. TV and streaming services meant more to us than ever before and quite a few of the year’s releases were made available at no additional charge on Hulu, Netflix and Prime Video, while others were made available for a nominal fee.

I’m not going to summarize the year in films and am going right into the year’s Oscar nominees.

Best Picture

I have not yet seen “Father”, “Judas and the Black Messiah” or “Minari.” Based on the fact that “Nomadland” was the most engaging of the nominated movies I’ve seen, its BAFTA, PGA and DGA wins and the way it’s grabbing almost every best-picture award while steamrolling through the awards season, I’m going with “Nomadland.”

“The Father”
“Judas and the Black Messiah”
“Mank”
“Minari”
“Nomadland”
“Promising Young Woman”
“Sound of Metal”
“The Trial of the Chicago 7”

Directing

See “Best Picture.”  It’s admirable that Fincher would produce a movie from his late father Jack’s screenplay but the end result doesn’t work for me and I found both viewings tedious.  Thomas Vinterberg’s nomination for his Danish-language film should be seen as a victory in itself.  Another victory is, for the first time, the fact that there two women in this category.  I just now realized Emerald Fennell plays Camilla Parker-Bowles in the Netflix series “The Crown.”  I’m doubly impressed — actually triply impressed since she wrote the also-nominated screenplay as well — but this one still goes to DGA winner Chloe Zhao, who is receiving a strong backlash in her native China for past criticisms of its government.

Thomas Vinterberg for “Another Round”
David Fincher for “Mank”
Lee Isaac Chung for “Minari”
Chloe Zhao for “Nomadland”
Emerald Fennell for “Promising Young Woman”

Actress in a Leading Role

I’ve seen all but Mulligan.  Because what we see seems so natural and unscripted, BAFTA winner McDormand’s performance comes across as too easy.  Day is the best thing about “The United States vs. Billie Holiday” and should be proud of her nomination.  Davis won the WGA playing a larger-than-life real person who seemed to go through life angry. I’m going to take a chance and give this to Kirby (who all but stole “The Crown” from her cast mates playing the most colorful character of the series).  Along with the quality of her performance, hers is the character most people can connect with.

Viola Davis, “Ma Rainey’s Black Bottom”

Andra Day, “The United States Vs. Billie Holiday”
Vanessa Kirby, “Pieces Of A Woman”
Frances McDormand, “Nomadland”
Carey Mulligan, “Promising Young Woman”

Actor in a Leading Role

I feel at a loss in not seeing “The Father” (which won Hopkins the BAFTA) or “Minari.”  WGA winner Boseman is unquestionably potent playing against type, as is Ahmed in a film and role with a lot of heart but little scope.  I’ve been impressed with Oldman since his bold performance as British playwright Joe Orton in Stephen Frears’ 1987 “Prick Up Your Ears” but a good performance seems wasted in a movie that was too hard to involve myself emotionally in.  The lack of an exceptional performance in an exceptional film has me combining Boseman’s WGA win with the strong sentiment following his far-too-soon passing to give him this one.  R.I.P. to a wonderful actor that left his mark in more ways than one.  Wakanda forever!

Riz Ahmed, “Sound of Metal”

Chadwick Boseman, “Ma Rainey’s Black Bottom”
Anthony Hopkins, “The Father”
Gary Oldman in “Mank”
Steven Yeun in “Minari”

Actor in a Supporting Role

Again, I have not seen Judas and the Black Messiah”, which reunites two actors from Jordan Peele’s 2017 “Get Out” (where Kaluuya received a Best Actor nomination) and I feel at a disadvantage, especially since Kaluuya won both BAFTA and SAG.  I read a strong case for Stanfield being more of a lead, which would elevate him above the group.  Raci was authentic as his film’s stabilizer and emotional anchor but he wasn’t onscreen much and the nomination for such a personal, small film is impressive in itself.  Cohen had a great year and it’s a treat seeing him seeing him outside Ali G (or Borat or any of his other characters) and in a drama but the movie has a lightweight feel, which limits the effectiveness of its cast.  I’m going with the stats and giving this one to Kaluuya.

Sacha Baron Cohen, “The Trial of the Chicago 7”
Daniel Kaluuya, “Judas and the Black Messiah”
Leslie Odom Jr., “One Night in Miami”
Paul Raci, “Sound of Metal”
Lakeith Stanfield, “Judas and the Black Messiah”

Actress in a Supporting Role

I haven’t seen “Minari” or “The Father.”  I anticipated seeing “Hillbilly Elegy” for its lead actors when it arrived on Netflix.  Then I saw its how Rotten Tomatoes rating which, combined with its focus on a demographic that’s lost the little charm it had after these last few years, made me pass on it.  I decided to watch it this week and can’t understand why it was made at all by anyone, much less Imagine Entertainment and Ron Howard.  I usually feel like I’ve gained something even if I see a movie I don’t like but I gained nothing from this movie.  Close is unrecognizable, authentic and better than the movie. I’ve been hoping for decades she’d finally win an Oscar after so many years of consistently solid-to-great performances (Rodrigo Carcia’s 2011 “Albert Nobbs”, for example).  Seyfried (like her makeup and hair people) does all she could with what she was given.  Everything about Bakalova’s performance keeps you riveted to her next word and move as does her metamorphosis throughout the story.  As much as I want Close to win, Bakalova had my vote the moment I finished watching “Borat Subsequent Moviefilm.”  What a way to introduce yourself to moviegoing audiences.  Cohen should be thanked and congratulated for giving the film to her so generously and intelligently.

Maria Bakalova, “Borat Subsequent Moviefilm”
Glenn Close, “Hillbilly Elegy”
Olivia Colman, “The Father”
Amanda Seyfried, “Mank”
Yuh-Jung Youn, “Minari”

Writing (Adapted Screenplay)

Because its storyline was so dependent upon the reaction of its unknowing participants —  like its predecessor’s 2006 nomination in the same category — the inclusion of “Borat Subsequent Moviefilm” in this category is a little baffling.  But what do I know?  It won this year’s WGA for the category.  The same might be said for “Nomadland”, a film I’m still trying to sort out in my head, despite its simplicity (I had the same experience with Sophia Coppola’s 2003 “Lost in Translation” and its nomination for Original Screenplay).  How much of that dialogue was given to those characters and how much was their own?  “One Night in Miami” is a fictional account of a real meeting between four huge black personalities, all at the top of their game.  The meat of the movie takes place in a hotel room — like four tigers trying to get along in a small cage — and the way the characters are weaved in and out of their confrontations is masterful and the dialogue is thoughtful and applicable to our times.  I’m taking the coward’s way and out will blame the WGA if I get this one wrong.    

“Borat Subsequent Moviefilm”
“The Father”
“Nomadland”
“One Night in Miami”
“The White Tiger”

Writing (Original Screenplay)

I haven’t seen the first three movies on the list, which makes my opinion garbage.  “Sound of Metal” was stronger emotionally and “The Trial of the Chicago 7” had more going on but neither comes across as Oscar-winning. Sight unseen, I’m going with the WGA winner for this category and giving it to Emerald Fennel.

“Judas and the Black Messiah”
“Minari”
“Promising Young Woman”
“Sound of Metal”
“The Trial of the Chicago 7”C

Cinematography

I did not see “News of the World.”  The camera work in “Nomadland” is one of the year’s cinematic high points for me.  I’m a big fan of black and white film when it’s used well and not sure “Mank” benefitted from its black and white look, although it won this year’s American Society of Cinematographer’s Award for this category. Since camera people focus more on the camera work and Academy voters look at the whole (metaphorical) picture, I’m going against the guild’s choice and giving it to “Nomadland.”  I won’t remember the camera work for “Mank” but that of “Nomadland” will stay with me.

“Judas and the Black Messiah”
“Mank”
“News of the World”
“Nomadland”
“The Trial of the Chicago 7”

Animated Feature Film

I only saw the two Disney Pixar entries, “Soul” and “Onward.”  The latter was technically impressive but didn’t hold my attention and I watched it in three parts.  I’m looking forward to seeing “Wolfwalkers”, whose film makers do an amazing job of taking you into another world, like they did with their 2014 “Song of the Sea” and 2009 “The Secret of Kelis.”  If you don’t limit yourself by thinking of animated features as “just cartoons”, I strongly recommend you see those films.
PGA winner in this category, Disney Pixar and Pete Docter’s “Soul” is by far my favorite film of 2020 (and favorite all-time Pixar effort) and I felt more satisfaction when it ended than with any of the year’s other films.  I’ve seen it at least six times (thanks Disney +, which also gifted us with “The Mandalorian” and “WandaVision”).  “Soul” does everything; stimulates, entertains, soothes, engages and makes you think about death in a different way and, for that reason, it is especially good for kids.  On a personal note, It helped me deal with the stress of everything pandemic-related and the recent passing of my young cat (enlarged heart).  (Spoiler alert: a cat embodies a main character and, in the funniest scene outside the Borat sequel, its soul is seen going to heaven.) Jazz is part of the storyline, which, along with the Oscar nominated score, makes it musically pleasant and sophisticated to listen to.  Jamie Foxx and Tina Fey do wonderful voicing, but Pixar are brutal task masters so we’re used to high quality in every direction in their films.  Ellen Degenerous says she had to do as many as 65 takes for some of her “Finding Nemo” lines. Having lived in Manhattan for eight years and romanticizing about it more now than when I lived there, my eyes almost water from the realistic and beautiful depiction of Manhattan in autumn in “Soul”, which is yet another reason I enjoy watching it.  For me, NYC came (even more) alive during autumn and the holiday season. The limitation that closed-minded people put on animated (and sci-fi) films robs them of the ability to be considered for Best Picture more often.  A win in this category is not enough to compensate for the fact “Soul” deserved a Best Picture nomination or at least one for writing. The night’s surest bet.

“Onward”
“Over the Moon”
“A Shaun the Sheep Movie: Farmageddon”
“Soul”
“Wolfwalkers”

Documentary Feature

I just finished Garrett Bradley’s “Time” and am stumped as to why this movie was even made much less up for an Oscar.  The husband-and-wife subjects committed a crime (by robbing a bank).  The wife went to prison for twelve years and is out, while her husband was sentenced to thirty years with no chance of parole and is still in prison.  Maybe I need to see it again but the wife is presented (and presents herself) as a victim, as is her husband and family.  She willingly committed a felony, yet she complains about the lack of freedom she had while in prison and the fact her husband is not home living with her.  Does she not understand the concepts of “crime”, “felony”, the justice system and imprisonment?  When she is shown addressing a crowd in an auditorium (where no context is given), she presents herself like an overly dramatic, manipulative huckster, as does her teen son when he’s debating for student body office.  
On the other hand, I thoroughly enjoyed “My Octopus Teacher” (co-directed by Pippa Ehrlich and James Reed), which is more moving than you’d expect in a story about an octopus.  Octopi are unquestionably intelligent and show emotion and, prior to seeing this film, it’s unfathomable that man and octopus could connect.  The message that man and nature can make such a connection is valuable and important. I find underwater film footage relaxing to watch and “My Octopus Teacher” has my favorite backdrop of any movie this year.  I have not seen the other three nominees.  I’m going with my “My Octopus Teacher.”

“Collective”
“Crip Camp”
“The Mole Agent”
“My Octopus Teacher”
“Time”

Music (Original Score)

Often when I watch a movie and an element stands out, that element wins an Oscar.  Examples are Anthony Hopkins for the late Jonathan Demme’s 1991″The Silence of the Lambs”, Pietro Scalia’s film editing on Oliver Stone’s 1991 “JFK”, and Emmanuel Ubezki’s camera work for Alfonso Cuaron’s 2013 “Gravity” and Alejandro G. Iñárritu’s 2014 “Birdman or (The Unexpected Virtue of Ignorance)” and 2015 “The Revenant.”  For all its outstanding technical elements, the ethereal music score by Trent Reznor and Atticus Ross (Oscar winners for David Finch’s 2010 “The Social Network” and nominees for this year for their work on “Mank”) stands out.  I’ve only seen “Soul” and “Mank.”  Based on my previous comments on both movies, I’ll give you one guess as to who my vote goes to (and it’s still not enough to compensate for not getting a Best Picture nomination).
“Da 5 Bloods”
“Mank”
“Minari”
“News of the World”
“Soul”

Music (Original Song)

All the songs are good but none stand out.  “Speak Now” (sung and co-written by “Hamilton” Tony winner and Supporting Oscar nominee Leslie Odom, Jr.) is the only one of the nominees I’ve heard in the context of its film.  In watching the music videos for other songs, “Husavik” has the best last note, “lo Si” has the best video.  With all that’s going on right now, I’m picking the politically-charged “Fight For You”, which is also the most musically upbeat.

“Fight For You” from “Judas and the Black Messiah” (Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas)

“Hear My Voice” from “The Trial of the Chicago 7” (Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite)
“Husavik” from “Eurovision Song Contest: The Story of Fire Saga” (Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Gransson)
“Io S (Seen)” from “The Life Ahead (La Vita Davanti a Se)” (Music by Diane Warren; Lyric by Diane Warren and Laura Pausini)
“Speak Now” from “One Night in Miami…” (Music and Lyric by Leslie Odom, Jr. and Sam Ashworth)

Film Editing

“The Trial of the Chicago 7” won the American Cinema Editors award for Feature Film (Dramatic).  “Palm Springs” won for Feature Film (Comedy) and “Soul” won for Animated Feature Film.  Only one of the three was nominated here so I’m going with that one.

“The Father”
“Nomadland”
“Promising Young Woman”
“Sound of Metal”
“The Trial of the Chicago 7”

Sound

Sound Mixing and Sound Effects Editing have been combined into a single category this year, which is a questionable decision, especially for members of the Motion Picture Sound Editors Guild and The Association for Motion Picture Sound.  Sound is used more effectively in “Sound of Metal” than in any movie this year and you’re forced to focus on it because it’s so integral to the story.  I’m not sure if the bigger scope of “Greyhound” or the all-around wonderfulness of “Soul” are enough to pull this one off, although all three are category winners for their guild.  Besides, I like when the wealth is shared.  “Sound of Metal.”

“Greyhound”
“Mank”
“News of the World”
“Soul”
“Sound of Metal”

International Feature Film

I’ve only seen Best Picture nominee “Another Round.”  Reason dictates that if it was the only “Best Picture” nominee in this field, it is the best of this group.
“Another Round,” Denmark
“Better Days,” Hong Kong
“Collective,” Romania
“The Man Who Sold His Skin,” Tunisia
“Quo Vadis, Aida?,” Bosnia and Herzegovina

Costume Design

The Costume Designers Guild gave awards to “Mulan” and “Ma Rainey’s Black Bottom.”  I’ve not seen “Mulan” but I know enough that the costume designers had a lot more to do on that film than on “Ma Rainey.”  On the other hand, no one’s talking about “Mulan.”  Giving this to “Ma Rainey.”
“Emma”
“Ma Rainey’s Black Bottom”
“Mank”
“Mulan”
“Pinocchio”

Makeup and Hairstyling

The Makeup Artists and Hair Stylists Guild gave two awards to “Ma Rainey’s Black Bottom”, which is good enough for me, although the work on Glenn Close in “Hillbilly Elegy” is impressive.
“Emma”
“Hillbilly Elegy”
“Ma Rainey’s Black Bottom”
“Mank”
“Pinocchio”

Production Design

“Ma Rainey’s Black Bottom” is so stagey it makes me feel like I’m looking at set after set, even if the locations were real places.  For my intense dislike of “Mank”, I have to acknowledge its production design, especially its depiction of Hearst Castle.  Besides, it won the Art Director’s Guild and I think the industry likes nods to Old Hollywood.  I didn’t see the other movies.
“The Father”
“Ma Rainey’s Black Bottom”
“Mank”
“News of the World”
“Tenet”

Visual Effects

I didn’t see any of the nominated films in this category.  Christopher Nolan’s 2011 “Inception” and 2015 “Interstellar” won for this category with two completely different 4-man teams.  For that (highly irrational) reason alone, I’m giving “Tenet” my vote.
“Love and Monsters”
“The Midnight Sky”
“Mulan”
“The One and Only Ivan”
“Tenet”

I’m glad I’m not betting because, other than “Soul”, I’m not confident with my pics.  

I won’t know what to really think of the film year 2020 until I see more of the nominated movies and significant non-nominated movies, which is typical for me.

Enjoy the Oscars!

DPW

April 25, 2021

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