Once again, I'm happy to say that I watched all of the movies nominated for an Oscar this year. That's why I've been posting so many reviews here of late. When you're trying to shove in 56 movies in a few weeks, naturally some films are deemed more worthy of longform reflection than others. Before my annual live-blog of the ceremony tonight, here are short capsule reviews of the remaining Oscar-nominated films that I didn't have time or space to review in full. Some of these are reused from my end-of-the-year retrospective. Thanks to the handful of people reading this. The Live Blog will begin at 8:00PM EST.
A cathartic examination of the lingering trauma of the Vietnam War on America's black community. Spike Lee's use of aspect ratios, to signify different eras, is brilliant. As is his decision to keep the same actors even during the flashbacks. Delroy Lindo's performance as a veteran still deep in his PTSD is staggeringly great. It's both messy and amazingly concise at the same time, epic but highly personal. [9/10]
Documentary Shorts:
Colette Catherine's unique insights into the French Resistance against Nazi Germany, as someone who was there, is invaluable. The fact that she intentionally downplays her contribution to the cause, or seems mentally exhausted by people calling her a hero, says a lot about her character. Her granddaughter insists history is too important to be forgotten, while Colette has spent her whole life trying to heal those wounds. There's no happy middle ground between these stances and that powerful unease is where this documentary dwells. (Though I do wonder about the ethics of walking a 90 year old woman into the place where her brother died.) [7/10]
A short that could probably stand to be a little longer. A conversation between two generations, showing off much things have changed for a black man in America, is interesting... Yet we still only get a peek at either man's life. Both men are compelling presences and the quiet insight his grandfather has into the racial divide of the forties is fascinating. It's good but I was left wanting more. [7/10]
The documentary as on-the-ground journalism, as the cameramen were actually in the crowds of protesters when the police started attacking them. So this is a bracing short, democracy being trampled right in front of our eyes. The filmmakers should be commended for communicating a complicated situation so sufficiently. Many of the sights seen here remind me of the injustices that happened in this country last year... The ending is pretty disheartening but that's life in the 2020s for ya. [8/10]
Shining a light on atrocities must be done and, after watching “Hunger Ward,” I felt compelled to donate to the charity. Yet I feel like parading dead kids and mothers wailing in agony on-screen with zero context – a sole title card is the only explanation we get for what's happening in Yemen – borders exploitative. We never learn much about the starving babies or the doctors treating them that this documentary is ostensibly about. Also, it opens with a quote from “Watchmen's” Rorschach, a choice that raises a lot of questions. [5/10]
Quietly devastating depiction of a totally senseless murder. Allowing Latasha's friend recount what happened was such a powerful decision. This recollection are played over quint and moments of colorful animation makes the point so much more cleanly than a traditional documentary would have. [8/10]
Costumed romantic-comedies are emphatically not my kind of thing. This kind of sophisticated banter and romantic entanglements bore me to tears. That's probably why, despite a light touch and a bubbly energy, I found this adaptation horribly slow. Still, I'll say this much: Anya Taylor-Joy's charms are effervescent and irrepressible. The production designs and costumes are utterly gorgeous. I love how colorful the sets are. [6/10]
Considering this is a comedy about the wackiest song contest in the world, long stretches of this are weirdly low-key. Obviously, the musical numbers are huge and outrageous. Yet most of the attempts at humor boil down to Will Ferrell delivering faux-awkward “funny” dialogue. This might be why the bigger, goofier gags – dancing whales, elves, ghosts, everything to do with Dan Stevens – get the most laughs. It's also over two hours long for some reason, though the big musical finale hits way harder than I expected. [6/10]
Economically paced World War II thriller that does a good job of keeping the tension high throughout. The captain – played with fitting solemnity by Tom Hanks – is always on his feet. The staff is constantly bringing food and coffee for the exhausted sailors. The rightfully nominated sound team creates a cascade of beeps and noise, including taunts from the unseen Germans. Despite never giving us much of a deep look into anybody's psyche, “Greyhound” remains captivating throughout. [7/10]
Would-be weepy checks off so many Oscars bait hallmarks – it's a movie about aging, orphans, kids, drugs, sex work and the Holocaust – that it can't help but come off as contrived and melodramatic. (This is the third film adaptation of the story, so it's not even fresh contrived melodrama.) Yet it does have a wonderful performance from Sophia Loren, who goes a long way to adding depth and humanity to the stale material. One or two interesting moment, such as the appearance of a lion or a dance number, also enliven an otherwise forgettable motion picture. [5/10]
I knew this one had really won me over when I was genuinely concerned about whether Boy the dog would be safe from a giant centipede monster. The protagonist is charming, with his interior monologue being funnier and sweeter than it had to be. There's actually some really clever world-building here, with how the various monsters are introduced and how human society has adapted in this apocalypse. The effects team really earned their nomination, as the CGI is great and the creature designs are clever and detailed. I think this one is going to become a cult classic down the line. [9/10]
When this is focused on beard-y George Clooney bonding with a little girl on post-apocalyptic Earth, it's pretty good. I'm sucker for “a recluse's heart de-frosts” story lines. When the subplot about the astronauts in space takes precedence – which sometimes take up some really long scenes – this feels like a more typical sci-fi, space survival flick. The two stories never come together in a meaningful way, save for a conclusion with a predictable twist ending. [6/10]
Turning “Mulan' into a wuxia epic isn't the worst idea. The movie's massive budget is on-screen in the form of its visuals, sets and costumes. (Though its action editing needed another pass.) However, elements of the story that were easily accepted in animation – the gender bender premise, the bloodless combat – comes off as hopelessly awkward in live action. Mostly, it's impossible to ignore the movie's status as propaganda for the Chinese government. Especially as the script repeatedly emphasizes how good the empire is, even though it's clear that the “bad guys” are just trying to get their land back. [5/10]
Tom Hanks' natural gravitas elevates what is a pretty standard, Dad-appealing western. (Down to him defending a surrogate daughter figure throughout most of the story.) The moral about the importance of a free press is unexpected, at the very least. Paul Greengrass still doesn't know how to shoot an action scene, as the shoot-outs are hassled by shaky-cam and wonky CGI. It's also too long, with an extended denouncement, but I still found this more charming than not. [7/10]
Totally innocuous fluff for the five-and-under crowd. It's got a nice message about how wild creatures don't belong in circuses or as people's pets. The CGI animals looks pretty good, even if you can't shake the feeling they're artificial. The celebrity voice cast is distracting. The subtle way the 1980s setting is indicated is honestly my favorite thing about this. [5/10]
The modernized fantasy setting results in a number of cute gags, like the raccoon-like unicorns or the pay-off involving the school mascot. The bond between the brothers, and how that will play out, is pretty easy to predict. Yet the lively voice cast, and a few of Pixar's trademark heartstrings-tugging moments, helps the whole thing go down a lot more smoothly. Destined to be among the studio's more forgettable films but not bad at all. [7/10]
Doing a grounded take on “Pinocchio,” that also emphasizes the surrealism of the story, is at least a fresh take on the material. The practical make-up effects are memorably grotesque, another choice that's distinctive if nothing else. So closely following the novel's highly episodic plot results in a meandering pace. (Further emphasized by the overly pastoral score.) The decision to add some truly obnoxious comedy – made much worst in the ear-splitting dub – marks this as a “Pinocchio” that's more interesting conceptually than in actuality. [5/10]
As always, Aardman are good at creating nicely tactile characters and environments. I've never seen any “Shaun the Sheep” media before, so I was amused that there's no clearly enunciated dialogue. Ultimately, this can't escape typical kids movie shenanigans. The little alien guy creates a lot of shrill humor. A number of mediocre gags are inserted to prop up a very thin plot. The pop-song needle drops are very distracting. [6/10]
Once again, Pixar manages to sum up big, universal themes – about finding the things that makes life worth living – in a cute, funny, and perfectly paced package. There's a lot of likable slapstick after our characters return to Earth. I really enjoy the minimalist art style of the afterlife. (Or beforelife, rather.) The score is brilliant and so many scenes make an impact. And, yes, it made me cry. [9/10]
Every frame of “Wolfwalkers” is stunningly beautiful. The incredibly lush animation creates one of the most absorbing cinematic experiences of the year. Yet it's not just the visual beauty that makes this film wonderful. The story, of finding acceptance and love in a world determine to tear you apart, is wonderfully conveyed and touching to. And feel free to read into a premise that involves two girls finding each other, while hiding something about themselves from their parents and cruel authoritarians... In other words, “Wolfwalkers” is as brilliantly evocative of our times as it is gorgeous looking. [9/10]
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