Give Emma Stone (La La Land, Battle of the Sexes) this year’s Oscar for Best Actress in a Leading Role. This category is going to be STACKED for 2023-released, eligible movies. With six weeks left before the nominations, I have seen all films perceived as frontrunners. Lily Gladstone (Kill of the Flower Moon) was the thought-to-be shoo-in for most of the year heading into the fall. Gladstone delivers an award-deserving performance. However, I would rather see her considered in the Best Actress in a Supporting Role category, where I think that performance fits better (at the time of this post, it is still being determined which category Gladstone will be submitted for. The others expected to be in consideration for Best Actress in a Leading Role are Greta Lee (Past Lives), Carey Mulligan (Maestro), Margot Robbie (Barbie), and Sandra Hüller (Anatomy of a Fall). Each is deserving of a nomination. No one in this group has a chance to beat Stone or Gladstone. Stone is my pick to win.
Category Archives: Emma Stone
The Favourite (2018)
Yorgos Lanthimos (The Lobster, The Killing of the Sacred Deer) is not my favorite director. His latest film, the Olivia Colman (Murder On The Orient Express, Locke) led The Favourite is not my favorite film. His style doesn’t work for me. I like creative movies. I like unique movies. I sometimes like eccentric movies. But weird movies are hit or miss as a whole, and they are a miss for sure. Ironically, The Favourite is probably his most “normal” to date. But I found myself disinterested in it from the start. Just as ironically, the much lesser recognized Mary Queen of Scots, which was released within a week or two of this movie (and a film that I enjoyed), was widely disregarded by critics and audiences alike (63%, 44% on Rotten Tomatoes compared to 94%, 61% for The Favourite). Honestly, the only reason I’m reviewing this movie is that it is likely to get nominated for many Academy Awards, and, sadly, Best Picture will be one of those.
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Battle of the Sexes (2017)
2017 will go down as a year of very underwhelming movies. The nine films nominated for Best Picture were, by far, the poorest collection since 2009, when a decision was made that up to 10 movies could be nominated for Best Picture if they got enough votes. My Top 10 list has three of the nine movies for Best Picture (#5 The Shape of Water, #6 Three Billboards Outside Ebbing, Missouri, #10 Get Out). So it’s hard for me to make a case for my Top 3 (Wind River, Hostiles, Life) receiving a Best Picture Nomination. While great, these movies differ from what the Academy is looking for. But Battle of the Sexes (co-directed by Jonathan Dayton and Valerie Faris) has everything the Academy looks for in a Best Picture nominee. It’s a period piece that looks very much like a period piece. It’s based on a true story and follows that story extremely closely. It has a definite protagonist and a definite antagonist. It has fantastic acting by its leads. It has a strong ensemble cast. It has a little bit of comedy, quite a bit of drama, and quite a bit of unexpected suspense. And its true story changed the course of history. It’s easily the most deserving movie that was not picked by The Academy (most say I, Tonya was the biggest snub), and it’s better and more deserving, in my opinion than all of the selections.
Irrational Man (2015)
Irrational Man is not a terrible movie. If you are a fan of Woody Allen (Midnight in Paris, Blue Jasmine), there’s no reason why you shouldn’t see this movie, despite its rather lukewarm reviews (42% on Rotten Tomatoes with a 48% audience score). This movie didn’t fare very well at the box office, earning just over $4 million. This movie completely flew under my radar. I cannot recall seeing even a single preview for it until I was scrolling through some selections on my Video On Demand network. The movie intrigued me in the same way Midnight in Paris did. Irrational Man was a movie that I did not think I would love but felt would hold my interest. It is certainly not as good as Midnight in Paris, nor does it claim to be. But there is something about Allen’s work in recent years that has me liking him more since about 2007 than I did in the ’80s and ’90s when he was getting most of his acclaim. I’ve never considered myself a huge fan of his movies. I usually like my humor when it is laugh-out-loud funny, and I want my dramas to be serious, while his films tend to fall into the dark comedy/light drama category. I’m also not huge into light-hearted romances. Thus, I’m probably not in Allen’s usual demographic, which has worked perfectly well for both of us. Yet, starting with Match Point and then with Midnight in Paris and Blue Jasmine, there has been something about him that has convinced me not to write off everything he does before giving it a chance.
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Birdman (2014)
For all the hype surrounding Alejandro González Iñárritu’s (Babel, Biutiful) Birdman, I was highly unimpressed. Yes, it was an above-average movie. Yes, the directing was good. Yes, the acting was good. But I never felt anything remarkable about this movie, its directing, or its acting. According to www.indiewire.com, Academy Award nominations are certainties for the film and for Iñárritu, Michael Keaton (as Lead Actor), Edward Nort-on (as Supporting Actor), Emma Watson (as Supporting Actress), and a host of others. I know this has been a terrible year for movies thus far, but there are still two months left. I still have incredibly high hopes for films like Interstellar, Nightcrawler, The Imitation Game, The Theory of Everything, American Sniper, Wild, Exodus: Gods and Kings, Foxcatcher, and Unbroken. I am hoping more than a few of these movies can break through and be the movies of 2014 that you have to see. So far, I’ve been told that Birdman, Gone Girl, and Boyhood were the movies that would be these movies that you HAD to see. So far, those who have said this have been 0 for 3. Each of these movies has been above average (B- to B range), but I will not have lasting memories of any of them.
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