Welcome to Oscar weekend! As we get ready for the Academy Awards on Sunday night, let me share my picks and predictions. First, let’s pretend it’s the old days where only 5 films were nominated for Best Picture. My picks would narrow the running down to:
Three Billboards Get Out Lady Bird The Shape of Water Dunkirk
Animated Feature: Coco, no doubt.
Production Design: The Shape of Water
Original Score: While I’m always rooting for John Williams, I think this comes down to The Shape of Water and Phantom Thread. Coin toss: Phantom Thread
Original Song: I have so much love for Coco, and I’m hoping Gael García Bernal performs Remember Me and it wins.
Makeup and Hairstyling: After Suicide Squad won last year, no one cares about this category. I’d go with Darkest Hour.
Visual Effects: All these effects are so deserving, why not Star Wars?
Sound Editing: Dunkirk
Sound Mixing: Dunkirk
Film Editing: I’ve yet to see Baby Driver or I, Tonya so this is a shot in the dark: Dunkirk
Costume Design: Phantom Thread
Cinematography: I think this comes down to Dunkirk or The Shape of Water. Coin toss: Shape of Water
Adapted Screenplay: How have I only seen 2 of these? I have no confidence in this pick, Call Me By Your Name
Original Screenplay: It’s hard for me to pick, they’re all so great. Get Out
Director: While I’m rooting for Gretta Gerwig, I think this is going to be Guillermo del Toro’s year.
Supporting Actress: Laurie Metcalf from Lady Bird
Supporting Actor: Woody Harrelson in Three Billboards
Actress: Frances McDormand in Three Billboards
Actor: Will the Academy award Day-Lewis in his final role or finally aknowldege Oldman? I say it’s Gary Oldman’s time
Best Picture: This category has been so unpredictable in the past few years. Sometimes it awards what is culturally relevant, which doesn’t narrow it down very well here. With Hollywood’s involvement in the MeToo movement, I think it will be Three Billboards to take it all.
Thank you for joining me for another Oscar race and wonderful year of film. Have a fantastic Oscar night!
To be honest, I was not looking forward to seeing The Post, which is surprising since I am usually anxiously awaiting Steven Spielberg’s films. While I do appreciate the genre, there’s just something about films featuring hardworking, honest journalists fighting against the man that doesn’t excite me. Maybe it was Spielberg’s craftsmanship, or Streep’s intriguing character, or the way the events in the film seem to parallel recent news, but The Post has grown on me in two days in ways that All The President’s Men or Spotlight have not in years.
In the film, The Washington Post is at a crossroads. It is being led by a woman, Kay Graham (Meryl Streep) a first for a major newspaper. And a huge story about how the past few presidents, including current president Nixon have been lying to the public about the war in Vietnam has just fallen on their reporters’ desks. The problem is, The New York Times published about this story earlier, and is now being barred by the president for writing more about it. Should The Post risk backlash and even collusion by running their piece? 
Streeps performance as Kay Graham humanizes this film as she tries to navigate what is traditionally a man’s role. She feels out of place in her position of power because that’s what she’s been taught to feel. Yet she rises to the occasion well, even if she is secretly second guessing herself at every turn. Streep’s performance is the only other Oscar nomination The Post received besides Best Picture. 
What makes this film so important, and what truly clenched it’s Best Picture nomination, is how this true story resonates with recent news under the Trump administration. The way Nixon and journalists butt heads in the film is very much like Trump’s cries and tweets of fake news at every turn. The Post shows how the government has tried to silence the press before and lost. Spielberg knew that this is the time to make The Post so he made it very quickly. While that rapid production may not have produced one of his best or most memorable films, it has solidified a spot in film history.
There are few things that many women universally love and covet, but Phantom Thread focuses on two: beautiful things to wear and the love of a man. Both can make a woman feel lovely, wanted and desired. However, if anything comes between her and the things or person who makes her feel this way, retaliation is expected.
In 1950s London, Reynolds Woodcock (Daniel Day-Lewis) is a renowned dressmaker. When he meets Alma (Vicky Krieps), a waitress, he takes her out and before the night is over, he is making her a lovely new dress. She becomes his muse and lover, well dressed on his arm, living and working alongside him and his ever present sister, Cyril (Lesley Manville). But the novelty of Alma’s presence begins to wane, and she can sense it wearing on Reynold’s and straining his lifestyle.
The relationship between Alma and Reynolds is very odd. It’s romantic, gothically romantic, but not seem very loving. It can be very professional at times, with Alma helping to make and model dresses. And there is some intangible bond between the two, something that connects Alma’s strong will and Reynold’s fastidiousness in a way that can only work for them. It can leave many baffled.
The opening credits of Call Me By Your Name feature images of ancient Greek and Roman statues. They are various depictions of young men, their naked likeness preserved smooth in stone with sensual curves. Anyone who’s seen Michelangelo’s David understands the concept. Throughout the film, our stars seem to take on the likeness of these statues. They often walk around clad in only thin shorts under the Italian summer sun and apricot trees. It isn’t meant to be arousing or explicit, but a natural depiction of life in its prime. 
In 1983, Elio (Timothée Chalamet) is seventeen and spending the summer with his parents in northern Italy. There isn’t much to do besides lounge, swim in the river, bike into town and read. Life here seems like an idyllic paradise away from the rest of the world. Elio’s father is a professor, studying and cataloging unearthed statues. For this task, a student comes to live with the family, Oliver (Armie Hammer). After a rocky start, Elio and Oliver strike up a friendship that slowly becomes more and more intimate and eventually sexual. 
Right now, Call Me By Your Name is nominated for four Academy Awards, including Best Picture. Timothée Chalamet is nominated for best actor in a leading role, his first ever nomination at just twenty-two years old. The film is also nominated for best adapted screenplay and for its best original song, Mystery of Love. 
Darkest Hour puts the first few weeks of Winston Churchill’s time as Prime Minister under a microscope. It is May 1940, and England’s politics are shaky as Neville Chamberlain is voted out as Prime Minister. Churchill is not the first choice, and has his political enemies, but is appointed next. With the fall of France, it looks as though Hitler and his Nazi army will take over all of Europe. Just across the channel, the entire British army is stranded at Dunkirk and surrounded by the invading German army. If nothing is done, the British army will be completely lost within days. Meanwhile, Churchill’s advisers are pushing for him to surrender to Hitler and attempt to negotiate peace, before it’s too late. How will Churchill pull his country up by its bootstraps, save their army and stand up in the face of doom and tyranny? 
Gary Oldman becomes completely immersed in his transformation into Winston Churchill. The flawless makeup done on him makes Oldman completely unrecognizable, I expect that award to be given easily. But just as impressive is Oldman’s acting, fleshing out Churchill not only as a historical figure, but as a man who seems larger than life at times. The fact that Oldman studied Churchill and his mannerisms over a year to prepare for this role shows his dedication to getting it right. I’ve also heard that he tried not to be influenced by other actor’s portrayals of the man and I think it has worked out well. While Oldman’s performance feels authentic, it is also unique compared to other films and shows about Churchill. 
A favorite scene of mine was towards the end when Churchill decides to ride the underground to Parliament. He escapes out of his personal car without his driver noticing and immerses himself within the bustling streets and busy people of London. A young woman helps him navigate the underground map and as he enters the train, a once hum-drum commute is suddenly shaken by his presence. But Churchill doesn’t lord his power and prestige over the people he serves, but rather strikes up conversations with everyone around him. He shakes hands, takes names and asks them all, children included, if they should consider negotiating peace with Hitler, or stand and fight. Thankfully, the people of London are much more influential on Churchill than his advisers.
Once the Oscar nominations were announced, there was a sudden backlash against The Boss Baby. How could such tripe be nominated for Best Animated Feature over popular franchise gems like The Lego Batman Movie or Cars 3? In my opinion, easily, like taking candy from a baby.
You see, Dreamworks’ The Boss Baby isn’t about a baby in a suit hungry for power. Not really anyway. The real story is about an imaginative seven-year-old named Tim and how he processes the news that he is going to be a big brother. As soon as his parents gently ask him if he’d like to have a baby brother, we are launched into Tim’s fantasy about where babies come from, how his new brother would arrive and how it would take over and change his family and his life. And the whole thing would be because of a big conspiracy, where a corporation of babies are competing for love against their rival: puppies.
For my growing family, The Boss Baby has become a favorite lately. It came on Netflix not long after my husband and I told our three-year-old that he’s going to be a big brother. While he has his own questions and worries, watching a story about a kid learning to love and accept the new baby, and his new role as a big brother is helpful. Sure, they have a rocky start, as I expect my son and his future sibling will, but my son always ends the movie with his hand on my belly, asking if the baby can feel him yet. It’s helping him bond already and the film’s message about love is strong enough that a three-year-old gets it.
In the midst of the MeToo era, Three Billboards is a resounding battle-cry for those seeking justice. In the film, Mildred (Frances McDormand) pays for three old billboards to display a message calling out the local police department to find the man who raped and murdered her daughter seven months ago. It’s a bold message with huge black letters on bright red. And even though the billboards are on an older road that hardly anyone travels down, word about them travels fast. 
To put it mildly, Mildred is a force to be reckoned with and you do not want to get on her bad side. At first glance, she may not look like much, just a middle aged woman in coveralls, no makeup and her hair in a short messy bun. This is also her look out at the fanciest restaurant in town. But then she opens her delightfully foul mouth and shows us just how she doesn’t give a f-ck and will put anyone in their place. Police officers, the local priest, kids at her son’s school, the tv reporter live, she’ll call them out and leave everyone with their mouths agape in shock. Even alone, with her guard down a bit and talking to her bunny slippers, she’s still got that rough edge that I love. McDormand has the award for best actress in the bag. 
The film is also nominated for a total of seven other Academy Awards, including best actress and Best Picture. Woody Harrelson and Sam Rockwell are both nominated in the best supporting actor category for their very different roles in Ebbing’s police force. Three Billboards is also nominated for original score, film editing and original screenplay. 
