92nd Annual Academy Awards - Oscar Picks by Reviews by Matthew

A much shorter race window has led to some much shorter breakdowns of the nominees, and the reasons they may or may not win Oscar Gold. Never fear, the read is still fun, Yo!

Without further ado, here are my Oscar picks for the 92nd Annual Academy Awards.

Note: For those of you that are new to this write-up, there’s a section located on the very last page called, “Oscars At A Glance”. There you can find a quick list of the winners that I’ve chosen for every category. So, now the both of us can play without all the distracting words getting in the way of the bottom line.

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-m-'s: Oscars At A Glance:	How many will I get correct ?	Totals - 18 out of 24 picked
Category	-m-'s Picks	The Oscar goes to:
Best Picture –	1917	Parasite – Bong Joon Ho
Best Director –	Parasite – Bong Joon Ho	Parasite – Bong Joon Ho
Best Actor –	Joker - Joaquin Phoenix	Joker - Joaquin Phoenix
Best Actress –	Judy - Rene Zellweger	Judy - Rene Zellweger
Best Supporting Actor –	Once Upon A Time…In Hollywood – Brad Pitt	Once Upon A Time…In Hollywood – Brad Pitt
Best Supporting Actress –	Marriage Story - Laura Dern	Marriage Story - Laura Dern
Best Animated Picture -	Klaus	Toy Story 4
Best Screenplany (Original) –	Once Upon A Time…In Hollywood – Quentin Tarantino	Parasite – Bong Joon Ho and Han Jin-won
Best Screenplay (Adapted) –	Jojo Rabbit - Taika Waititi	Jojo Rabbit - Taika Waititi
Best Cinematography –	1917	1917
Best Art Direction – Best Production Design	Once Upon A Time…In Hollywood	Once Upon A Time…In Hollywood
Best Costume Design –	Once Upon A Time…In Hollywood	Little Women – Jacqueline Durran
Best Makeup –	Bombshell	Bombshell – Kazu Hiro, Anne Morgan, and Vivian Baker
Best Film Editing –	Ford v Ferrari	Ford v Ferrari – Andrew Buckland and Michael McCuske
Best Original Score –	Joker – Hildur Guonadottir	Joker – Hildur Guonadottir
Best Original Song –	Rocketman – “(I’m Gonna) Love Me Again”	Rocketman – “(I’m Gonna) Love Me Again”
Best Sound Mixing–	1917	1917
Best Sound Effects Editing –	1917	Ford v Ferrari – Donald Sylvester
Best Visual Effects –	1917	1917
Best International Feature -	Parasite	Parasite
Best Documentary (Feature) -	American Factory	American Factory
Best Documentary (Short Subject) –	Learning to Skateboard in a Warzone (If You’re A Girl)	Learning to Skateboard in a Warzone (If You’re A Girl)
Best Short Film (Animation) –	Hair Love	Hair Love – Matthew A. Cherry and Karen Rupert Toliver
Best Short Film (Live Action) –	Brotherhood	The Neighbors' Window – Marshall Curry;

 

PICTURE –
“Ford v Ferrari” – The Oscar-friendly film of the year doesn’t have much traction. Without any directing or acting nominations, it’s easy to see “Ford v Ferrari” getting lost in the pack.

“The Irishman” – The three+ hour long crime epic is missing the “Hoo-Ah” to claim the top Oscar prize. Additionally, this is at least the second time that a Martin Scorsese film has been nominated for 10 Oscars. The last, was “Gangs of New York”, and you can Google how that turned out.

“Jojo Rabbit” – Is the perfect type of film that showcases a writer/director who can be awarded elsewhere; ala Sofia Coppola and her film, “Lost in Translation” which won the Oscar for Best Original Screenplay.

“Joker” – If a comic book film were ever to win the Academy’s highest honor, it would be this one. Yet, I think going from Best Supporting Actor to Best Actor is “feat enough” for the Academy and the film.

“Little Women” – Is also the perfect type of film that allows its writer/director to be awarded elsewhere. In this case though, that “awarded elsewhere”, while earned, is really gonna chap my hide. (see Best Adapted Screenplay)

“Marriage Story” – The superbly acted film fails enough in other categories to keep it from ever being a threat to the other Best Picture nominees.

“1917” – Winning the Producer Guild’s top award gives “1917” the inside track to win the Academy’s top honor. Plus, it’s a film that’s legitimately deserving.

“Once Upon A Time…in Hollywood” – Duller for me than “The Irishman”, and a whole hour shorter. A win here is possible, but it would be an upsetting reflection of the Academy’s preferential balloting practice and not an outright first choice win.

“Parasite” – Much like “Roma” last year, I can’t see the Academy awarding the Best International Film a second time with their top prize; especially with other deserving options to choose from. Although a win here is also possible, it would be a less upsetting reflection of the Academy’s preferential balloting practice, and most-likely not an outright first choice win.

 

DIRECTOR –
“The Irishman” – Martin Scorsese does a perfectly fine job of delivering on his namesake. And while “The Irishman” is not his best film, it certainly delivers a cast that fans of his work have often dreamed of seeing. In the end though, the dream delivered feels its age, and amongst the frontrunners this year, a little “tired nostalgia” just isn’t gonna cut it.

“Joker” – Todd Phillips has made the best Martin Scorsese film of the year. Unfortunately, it’s not enough to steal Oscar gold from frontrunners Sam Mendes or Bong Joon Ho.

“1917” – Sam Mendes just won the Director Guild’s top honor, but I really think this award belongs to Bong Joon Ho. I know that I need to bet with my wallet and not my heart but…screw it.

“Once Upon A Time…in Hollywood” – Quentin Tarantino has most likely won the Screenwriting Oscar already for a film that I wasn’t at all thrilled by. Now, I know Hollywood loves to toot its own horn and this year they’ve got Tarantino’s help with the tug, but when it comes to performing a double-dutch rudder, I think the Academy spent themselves already.

“Parasite” Bong Joon Ho is my desired honoree here, but he’s also new to the Academy stage. The odds of a win, no matter how deserved, is an unsure bet when you’ve got a racer who delivered as solidly as Sam Mendes this year, but I’m going with the pseudo-upset.

 

ACTOR –
“Pain and Glory” – As I hear it, Antonio Banderas delivers the runner-up performance of the year.

“Once Upon A Time…in Hollywood” – Leonardo DiCaprio delivers well enough in the film, but his performance and roll aren’t nearly as impressive as they were in “Django Unchained”, and he didn’t win anything for that one either.

“Marriage Story” – Adam Driver is an Oscar Winning Actor. Not this year, but his time is coming.

“Joker” – Joaquin Phoenix delivers a performance that arguably surpasses previous Oscar Winner, Heath Ledger. This award is his, Hook, Line, and Sinker. (#Batman: 0 Joker: 2,Yo!)

“The Two Popes” – Jonathan Pryce is in this category so that he doesn’t split votes with Best Supporting Actor nominee, Anthony Hopkins. The gambit however doesn’t really help either garner an award this year.

 

ACTRESS –
“Harriet” – Cynthia Erivo is one of four other actresses who unfortunately can’t compete with Renee Zellweger’s “Judy” dominance. Erivo’s night is not over though as been nominated for two Oscars herself this year. But, her next bid sees her squaring up against Elton John. Sheesh, talk about a rough night, Yo!

“Marriage Story” – Scarlett Johansson delivers an emotionally convincing performance in “Marriage Story”. I don’t think it’s enough to beat Renee this year, but it’s the kind of performance that could.

“Little Women” – Saoirse Ronan has now earned four Best Actress nominations in just eleven years. Not giving this woman an Oscar is like letting her drink alone at a bar.

Note: Additionally, actress Amy Adams has been nominated five times in the Best Supporting Actress category without a win, the same line of thinking applies. #CanWeGetSomeOscarsOverHere?

“Bombshell” – Charlize Theron is Megyn Kelly in…Wow, that makeup is impressive.

“Judy” – Renee Zellweger for the Win.

 

SUPPORTING ACTOR –
“A Beautiful Day in the Neighborhood” – I actually expected this film to have a bigger overall impact when I originally heard it was happening, but I also expected to see more Oscar love for the Mr. Rogers documentary, “Won’t You Be My Neighbor?” last year. Neither really happened, so I’m not sure what else to say to Tom Hanks here other than, “Thank you, neighbor.” Not sure if the nomination says that nicely enough but...

“The Two Popes” – Anthony Hopkins is in this category so that he doesn’t split votes with Best Actor nominee, Jonathan Pryce. The gambit however doesn’t really help either garner an award this year.

“The Irishman” – Al Pacino is a legitimate threat to the Oscar front-runner, and to his compatriot Joe Pesci.

“The Irishman” – Joe Pesci is a legitimate threat to the Oscar front-runner, and to his compatriot Al Pacino.

“Once Upon A Time…in Hollywood” – Regardless of how I feel about the film, Brad Pitt has won virtually every Best Supporting Actor Award this season, and his acceptance speeches have been classics of self-deprecation and joy in his work. Who in their right mind would bet against that trend?

 

SUPPORTING ACTRESS –
“Richard Jewell” – Kathy Bates is always a welcome Oscar addition. This year however, she’s nominated for a film that disappeared surprisingly quickly and with very little fanfare.

“Marriage Story” – Laura Dern is the leader the beat this year. She’s got the roll, the chops, and the street cred.

“Jojo Rabbit” – I loved Scarlett Johansson in this like I love my own mom, Yo! But she, doesn’t have an Oscar either.

“Little Women” – I was introduced to Florence Pugh through AMC’s 2018 television production of John le Carre’s, “The Little Drummer Girl”, and I’ve been a big fan since. So damn nice, and deserving, to see her on these bigger stages, even if it’s not on the main stage yet.

“Bombshell” – Keep coming back, Margot Robbie.

 

ANIMATED FEATURE –
“How to Train Your Dragon: The Hidden World” – Of the two sequels nominated this year, it’s the weaker of the pair; by maybe a long shot.

“I Lost My Body” – The intriguing French film has quite the mountain to climb, and only one-hand with which to do it.

“Klaus” – The film is refreshing enough to have a win here feel good. The problem is that if no one saw it, their votes will most likely go towards “Missing Link” or “Toy Story 4”. I’m counting on that split creating a preferential ballot win.

“Missing Link” – I actually disliked “Missing Link” so much that I’m still trying to process its Golden Globe win. The problem with that, is that anyone who neglected to watch this group of films could easily cast their vote for it and throw the legitimacy of this category’s winner horribly off the mark.

“Toy Story 4” – This win would be a little bit like getting your high school diploma; how’s that for a “moving on” metaphor. If it loses, consider it walking with a G.E.D.

 

SCREENPLAY ORIGINAL –
“Knives Out” – While I enjoyed “Knives Out”, I found it far less entertaining than the critics and/or fans who made this nomination possible. I’m a Rian Johnson fan, and the nomination is a nice regard to his ability as both a writer and director, but I don’t think this is Oscar winning work.

“Marriage Story” – There are a number of different reasons why one could argue a loss in this category. The cast elevating the material, the semi-episodic feel to the story, or a lack of narrative cohesion. The fact that there are reasons at all don’t bode well for Oscar recognition.

“1917” – The film is a technical marvel, for sure. Narratively though, it’s a tougher award sell.

“Once Upon A Time…in Hollywood” – I don’t really agree with the amount of love this film is getting this year, but that love makes it near impossible to see Quentin Tarantino losing this category.

“Parasite” – I think this screenplay deserves serious consideration, but maybe, because of the language barrier, it was harder for Academy members to read.

 

SCREENPLAY ADAPTED –
“The Irishman” – I haven’t yet caught a glimpse of real excitement over this adaptation, so I can’t imagine a surprise upset arising in its favor.

“Jojo Rabbit” – A still rising star, Taika Waititi is winning over audiences while seemingly coming out of nowhere. A kinder/gentler auteur, he’s proven astute in crafting both small and blockbuster sized fare. He’s actually made such an impact in Hollywood, and internationally, that he’s hard to discount. In this race though, Waititi’s got two things working against him, Hitler and “Lady Bird”. I hope his late surge in the polls isn’t too late.

“Joker” – This is the strongest case ever made for a comic book to screen adaptation. I’m still not sure the Academy is ready to go for it though. I’m not counting it out, but there are two new-Hollywood voices, in Taika Waititi and Greta Gerwig, who have the inside track to beat it.

“Little Women” – Greta Gerwig made an enormous splash in the Hollywood pond with 2017’s “Lady Bird”. In response, the Academy gifted her movie five big nominations but delivered zero actual awards; arguably overlooking her accomplishments. I half expect the Academy to make up for it this year. People seem to love her heartfelt updating of Alcott’s classic novel in a way that dumbfounds me when comparing this race to last year’s loser, Bradley Cooper, and his phenomenally impactful “A Star Is Born”.

“The Two Popes” – The Two Nopes.

 

PRODUCTION DESIGN / ART DIRECTION –
“The Irishman” – Covering a myriad of timeframes and settings, almost silently, I find it’s actually one of the least talked about elements of the film. As such, I can’t see how a loss here would be surprising.

“Jojo Rabbit” – Of the two war films in this category, “Jojo Rabbit” is the one that draws almost no attention to its wonderful efforts.

“1917” – Conversely, the efforts put forth by “1917” can’t be missed. The conceit of the film has you paying so much attention to the film’s surroundings that you’re repeatedly awed by the filmmaker’s ability to pull off its feats. However…

“Once Upon A Time…in Hollywood” – Recreating a 1969 Los Angeles does more than just blow the Academy’s skirt up; it swallows the Oscar whole.
 
“Parasite” – I love the production design this film puts on the screen, but I feel that it’s a bit too pedestrian amongst its category peers.

 

CINEMATOGRAPHY –
“The Irishman” – An older, wiser, and less kinetic look permeates Scorsese’s late career arrival.

“Joker” – Now this is the Scorsese that everyone knows, loves, and remembers. The fact that it’s not a Scorsese film is only detrimental to “The Irishman” in this category. So, of the two “Scorsese” films nominated here, “Joker” has the better chance of winning, but I expect Roger Deakins to beat the Scorsese-twins, handily.

“The Lighthouse” – Jarin Blaschke delivers the most uniquely lensed film of the category and should see this nomination as some serious film-class recognition.

“1917” – Roger Deakins channels some of the Oscar winning practices of Emmanuel Lubezki and scores his 2nd Oscar in a career that spans forty-five years and fifteen total nominations in this category.

“Once Upon A Time…in Hollywood” – Highlighting a Los Angeles that’s long gone has it’s plus and minuses. Count this one in the minus category.

 

FILM EDITING –
“Ford v Ferrari” – The ‘little film that could,’ actually can here. Will it though?

“The Irishman” – Smoothly hopping timeframes for three-and-a-half hours with these icons, you’d hope that this’d be a lock, but you’d be wrong.

“Jojo Rabbit” – Like the Golden Globe awards, the Editors Guild splits its ACE Eddie Awards into Dramatic and Comedic categories. Tom Eagles, who edited “Jojo Rabbit” won for Best Comedic Film, while “Parasite” won for Best Dramatic Film. Guess what that means.

“Joker” – The editing at the end of this film really helps it make a big impact. Prior to that I think there’s too little fanfare to keep this one in the top three.

“Parasite” – The film won the ACE Eddie along with “Jojo Rabbit”, so I had Jinmo Yang garnering the film another gold statue until the final lap when “Ford v Ferrari” whooshed past me in the rumor mill and I changed my pick. #CrossingFingersToesEyesandLegs

 

COSTUME –
“The Irishman” – It’s got no…pizzazz, Yo!

“Jojo Rabbit” – I love everything about this movie, including the fact that it won’t win here.
[Jojo touches Yorki’s uniform sleeve]
Jojo: “It’s like paper.”
Yorki: “Hm, that’s what I thought at first too, but it’s ‘paper like’.”

“Joker” – “Joker’s” dour and grimy New York-seventies look pales in comparison to the bright sunny feel of Los Angeles in 1969.

“Little Women” – Strangely enough the film didn’t even get a Costume Designers Guild nomination. Coincidently, neither did “The Irishman” or “Joker”, the latter of which is more deserving. Be that as it may, I expect all three will fail to stitch together a win here this year.

“Once Upon A Time…in Hollywood” – The films costumes are less impressive than previous winners but that retro look of a bygone Los Angeles is draped in Oscar Gold.

 

MAKEUP –
“Bombshell” – Winning three of the top five MUAH Guild Awards, and not competing in the two categories it didn’t win, it’s absolutely the most likely winner.

“Joker” – The nomination seems self-evident, the win though…not so much.

“Judy” – Judy. Judy. Judy. All I hear about is Rene.

“Maleficent: Mistress of Evil” – The least interesting film in the category is also the easiest to overlook.

“1917” – I got nothing, and don’t feel like that really affects the outcome of this race.

 

ORIGINAL SCORE –
“Joker” – Hildur Guonadottir is the front-runner for the top score honor. I’m not really jazzed about this score at all, but when was that ever a consideration of note?

“Little Women” – Lite, airy and whimsically refreshing, Alexandre Desplat’s piano driven score is simply wonderful, but is it enough?

“Marriage Story” – From Randy Newman comes a simple and sweet score that’s a bit antithetical to the film itself. With a reemerging life in it, the score delivers a worldly sense of street-level hope for that life, or perhaps for the one you’d thought you’d lost.

“1917” – Thomas Newman’s music is a welcome emotional companion throughout what’s effectively a journey alone into the known unknown. Probably the runner-up score.

“Star Wars: The Rise of Skywalker” – With an unprecedented 52 Oscar nominations, John Williams is the second most nominated person in Academy history (Walt Disney is first with 59 nominations) …and that’s all I have to say about “Rise of Skywalker”.

 

ORIGINAL SONG –
Toy Story 4: “I Can’t Let You Throw Yourself Away” – Randy Newman delivers another fun-ish tune that suits the franchise and closing credits well…Next?

Rocketman: “(I’m Gonna) Love Me Again” – Elton John, with some vocal support from Taron Egerton, scores his second Oscar with this somewhat-welcome throwback to his late 70s-early 80s sound.

Breakthrough: “I’m Standing with You” – Chrissy Metz delivers nicely on this Oscar-bait-style original song that largely fails to feel original.

Frozen II: “Into the Unknown” – Idina Menzel delivers melodically and powerfully on “Into the Unknown’s” choruses but sadly the verses are a bust; that’s not Menzel’s fault, they’re dull to begin with.

Harriet: “Stand Up” – Delivered with poise and power, Cynthia Erivo builds step-by-step arguably the second-best track in this category. I was really surprised at how much I liked this song but can’t imagine it beating out Sir Elton’s entry.

 

SOUND EDITING –
“Ford v Ferrari” – Effects & Foley are superbly showcased in the films racing sequences. I was leaning on a win for it here to break up the “1917” sound category sweep, but think that the Boom is going to sweep the Vroom.

“Joker” – Arthur Fleck’s very pedestrian life is elevated through mood. To me that’s a culmination of dialogue, score, effects, and ambient sound in a Mix.

“1917” – For the Technical Sweep.

“Once Upon A Time…in Hollywood” – I can’t find anything to even say about the film in this category, so let’s move on.

“Star Wars: The Rise of Skywalker” – The franchise hasn’t won a sound award since “The Empire Strikes Back”, I can’t see this entry bucking that trend.

 

SOUND MIXING –
“Ad Astra” – With only this single nomination for the film, I think its chances of winning are...astronomical.

“Ford v Ferrari” – I split my vote in the two sound categories because I believe in “Ford v Ferrari”. I also believe that “1917” isn’t going to lose both of these awards.

“Joker” – The “Mood” is better suited here, but it’s just not strong enough.

“1917” – One Level to Rule Them All.

“Once Upon A Time…in Hollywood” – Quentin Tarantino doesn’t use ADR recording in his films, so all the dialogue heard in his films are captured on the day of the shoot. I didn’t know that. It doesn’t help the film win here, but hey, the more you know.

 

VISUAL EFFECTS –
“Avengers: Endgame” – The film was such a colossal feat and saw the end of a cinematic era, but I don’t think that’s enough. Superhero burn-out maybe?

“The Irishman” – An award for the innovators and their innovation that pushes the medium forward. It could happen.

“The Lion King” – If I remember right, there were many complaints regarding the lack of emotion the film’s life-like animation created. There were no such complaints when the film’s director, John Favreau, won this award with his remake of “The Jungle Book” in 2017. What I’m getting at, is that I can’t quite see the Academy rewarding his efforts with a second Oscar for effectively stifling the emotion of the beloved original. Maybe, I’m just not feeling the Love tonight.
 
“1917” – The film’s visual effects are so uniquely intertwined with the practical effects and cinematography that it’s hard to tell where, or if, they actually exist. It’s the kind of excellence in subtlety that should be rewarded.

“Star Wars: The Rise of Skywalker” – There is no possible way that the most maligned film in the Star Wars franchise wins an Oscar, not even for bringing Carrie Fisher back from the dead.

 

BEST INTERNATIONAL FEATURE FILM –
“Corpus Christi” – From Poland comes this absorbing film concerning a convict turned priest who’s set to ensure his flock understands the true meaning of forgiveness and find a little justice along the way.

“Honeyland” – The North Macedonian entrant has made a splash because of its gorgeous cinematography. However, that cinematic beauty is consistently interrupted by the inclusion of an obnoxious family that makes the film a most difficult watch. Also nominated for Best Documentary (Feature), where as a film, it’s better suited.

“Les Miserables” – France’s 2019 film is also an Amazon Original; which is not screen-able on Prime. What the “F,” Yo?

“Pain and Glory” – This Spanish entry, from Oscar winner Pedro Almodovar (2003 Best Original Screenplay for “Talk to Her”), is a drama concerning a film director who looks back on his life. Nominated for two Oscars, and abandoning all talk about the quality of its content, it’s chances of winning are completely eclipsed by Parasite and Joaquin Phoenix.

“Parasite” – The best film of the year gets some deserved recognition.

 

BEST DOCUMENTARY (FEATURE) –
“American Factory” – A former GM plant is reopened by a Chinese corporation in 2016, culture differences and (ir)reconcilable differences ensue. Surprisingly, it’s not all that interesting, and in trying to be impartial, it makes all parties involved look like assholes. So, why the documentary is here and what are its chances of winning, are literally political questions. What, you ask? Well, the documentary hails from Barack & Michelle Obama’s production company, “Higher Ground”. Sooo….?

“The Cave” – Moving the Syrian documentary into the hospital where more atrocities are unveiled. Of the two Syrian-related docs nominated it’s the arguably harder sell.

“The Edge of Democracy” – A frightening look at the currently destructive state of the Brazilian Democratic system. This one is kind of scary because it showcases the resoundingly similar practices of, and obviously a potential future for, the Democratic process in America. #MirrorMirrorOntheWall

“For Sama” – This documentary is a love-letter of horrific sorts from a journalist mother to her newborn daughter and concerns the experiences of war and ‘commitment to the cause’ in Aleppo. Although, it’s the second documentary feature this year to be set in a warzone hospital, I think it’s got too many dead bodies for a traditional love letter.

“Honeyland” – Also nominated for Best International Feature, the film sports some amazing cinematography and a horribly obnoxious family. The film’s quieter moments are worth the look, but there’s too few of them to hear this one’s name called on Oscar night.

 

BEST DOCUMENTARY (SHORT SUBJECT) –
“In the Absence” – The documentary explores the 2014 Sewol ferry boat tragedy which saw the death of over 300 passengers, many of them schoolchildren. This is the kind of senseless tragedy, and even more senseless response, that enrages a people and audiences alike. It’s ultimately the kind of documentary that’s too short for its own good. “In the Absence” has a story screaming for more detail and displays enough drama to warrant it.

“Learning to Skateboard in a Warzone (If You’re A Girl)” – Education and Sports in Skateistan, Afghanistan. The title is Oscar worthy to begin with, the rest of it is all optimism.

“Life Overtakes Me” – An exploration of Sweden’s Resignation Syndrome, a scientifically unexplained syndrome that sees traumatized refugee children retreating from the world in a frighteningly slow and real way, ultimately landing them each in a coma-like state. While the personal drama is covered adequately, it suffers from a lack of scientific examination and legal ramifications within the country. And I don’t see awareness alone making the grade this year.

“St. Louis Superman” – This introduction to Bruce Franks Jr., battle rapper, Ferguson activist, and Missouri state representative, is the only documentary short I was unable to screen. This write-up, and ultimately my category pick, is so much worse for the missing of it.

“Walk Run Cha-Cha” – A Vietnamese couple establishes an authentic life of Freedom, Love, and Dance. It seems that even Oscar gets the Feels sometimes. #WeveOnlyJustBegun

 

BEST SHORT FILM (ANIMATION) –
“Dcera (Daughter)” – Even though it’s got amazing sound editing, it’s creepy; like watching an early Tool video. I’m not sure what it is or what it’s trying to do but it’s unnerving as hell to even watch the trailer.

“Hair Love” – It’s not about the hair, it’s about the heart.

“Kitbull” – Super cute and then so pointedly heartbreaking that even with its happier ending, it’s a tough break to overcome.

“Memorable” – The French short has a similar animation style to “Dcrea” albeit a little less creepy.

“Sister” - From Siqi Song, the Chinese animated tale is one that I unfortunately missed completely.

 

BEST SHORT FILM (LIVE ACTION) –
“Brotherhood” – The prodigal son returns, and into the obviously tense situation a daughter-in-law is introduced. The tenseness and emotion are obvious but the version I screened had no subtitles, so the choppy ending was a bit more difficult to contextualize. Not a bad film though, but not as impactful as the next two films in the category, so why this one is the front-runner befuddles me.

“Nefta Football Club” – The most lighthearted film of the live action short category has a message that’s more whimsical than expected, but I don’t think that’s enough to get it done. #DrugsareGoodemK.

“The Neighbor’s Window” – A surprisingly emotional film that concerns a thirty-something married couple who become infatuated with their twenty-something neighbors. Remarkably well conceived, produced, acted, and scored the film delivers a powerful message concerning the “grass isn’t always greener” adage. It also sees back-to-back nominations for filmmaker Marshall Curry. Will it win though?

“Saria” – Based on horrifyingly real events, “Saria” concerns forty-one orphans who fight for freedom from the abusive conditions of a Guatemalan orphanage. I was unable to screen this one as well, but what I’m hearing is that it’s a heartbreakingly-excellent story that lacks narrative balance in its shortened form; arguing that it not only deserves, but requires, feature-length treatment.

“A Sister” – Dealing with the tenseness of an Emergency Services call and the thankfully frustrating reality of unanswered questions, outcomes, and connections. I think it will appeal stronger to EMS workers than to Academy members.

 

And there you have it. Considering the shortened nomination-to-telecast window, this was a surprisingly easy write-up to complete. I feel good about the picks, even with the few upsets that I’m betting on; though I made some drastic changes just before the deadline thanks to the freaking rumor mill. We’ll see how all of that washes out this Sunday night, but the fun has well begun.

Note: The Academy of Motion Picture Arts and Sciences and ABC have announced the upcoming Oscar telecast dates as follows:

93rd Oscars:     Sunday, February 28, 2021
94th Oscars:     Sunday, February 27, 2022

This is due to the Super Bowl, national holidays, and the timing of the 2022 Olympics. The Academy and ABC continue to evaluate dates for future years.

-m-