I’m still fighting off the remnants of my Flu ver. 2020 so this isn’t going to be too long as I’ve got an appointment with my couch that I clearly can’t miss. Here’s my random thoughts on the Oscars.
Parasite devours the competition
The Academy Awards build-up felt like it was sticking to a script with all four actor categories going to the presumptive favorites without an upset in sight. Then Parasite shook things up as Bong Joon Ho won Best Director in a big upset over 1917 Director Sam Mendes and seemingly sentimental favorite Martin Scorsese. I do kinda feel bad for the other nominees in the Best International Feature Film category since Parasite also claimed that one in a curious bit of double dipping.
Still, this was the best Oscar nominee by far and Parasite deserved the win. The film is going to be made into an HBO series, which could work given the premise of the movie. And while it’s out on Blu-Ray, you can still see it in theaters.
No love for The Irishman
It was an empty night for Marty and the rest of The Irishman gang as the film went home empty handed despite having nine nominations. For all the falling over themselves adoration Scorsese received at all the awards shows this year it seems The Irishman couldn’t rally enough support from voters where it mattered most. At least fellow Netflix release, Marriage Story, received an award with Laura Dern’s win for Best Supporting Actress.
Ripley gets her spotlight
I’ve been on my soapbox for years now that Sigourney Weaver was one of the best action stars from the 80s, who just happened to be a woman. And it seemed insulting that her contributions were being ignored for the new flavor of the months like Katniss, Rey and even Wonder Woman and Captain Marvel. So it was fitting this year that Weaver was a presenter flanked by Brie Larson and Gal Gadot, who saluted her as one of the foremothers of the female action movie genre. The only thing better would have been if Linda Hamilton was on stage and they had a picture of Carrie Fisher in the background, but this was a nice moment.
- DC’s Legends of Tomorrow – Crisis on Infinite Earths review Part 5 – S5 E1
- Inside Man: Most Wanted review – repeating the same heist with lukewarm results
- The Witcher Season 1 review – worthy of a watch
- Hidden in Plain Sight movie review – don’t try to find this cheap thriller
Let it go…
The dig at the poor showing of Cats was great with James Corden and Rebel Wilson having a good laugh at their cinematic misfortune. But one joke felt so tired it’s time move on. Poor John Travolta’s obit is going to include his “complicated legacy” of butchering Idina Menzel’s name. It’s been a few years, can we all just take Elsa’s advice, already?
The joke isn’t funny anymore
Speaking of jokes that have run their course….
Following a bombastic performance from Janelle Monae, Chris Rock and Steve Martin joked in their monologue about the lack of black performers and women directors among the nominees. Naturally this was done to widespread laughs and thunderous applause. The thing is this has been a go-to gag since #OscarsSoWhite became a thing. Why is it still an issue in 2020? It’s certainly not like there weren’t plenty of worthy nominees from films like Dolemite is My Name, Little Women, Queen & Slim, Waves and Us.
Love that Hair
It seems like Oscar voters have a decent ability to read the room after the nominees are cast. With Cynthia Erivo, the lone black nominee for any of the four acting categories, a longshot to win for Harriet it made Hair Love an easy choice to have at least one black person accept an award. It didn’t hurt that Hair Love was a charming and endearing choice for Best Animated Short Film. And it didn’t hurt that it echoed the #GirlDad theme that’s been widely celebrated since Kobe Bryant’s death. Matthew A. Cherry playfully reminded folks he told them so way back in 2016.
Nailed it https://t.co/roqq0ohAP4
— Matthew A. Cherry (@MatthewACherry) February 10, 2020
Comic book movies don’t get respect even in gimme categories
I liked 1917 a lot, but it sure felt like a slap in the face to Avengers: Endgame to give anything else the visual effects award. You’d think by some academy voters abhorrence of films shot against a green screen they’d at least respect the technical achievements of the film or the slighted Spider-Man: Far From Home. But nope, they stick to the course and still are content not to let the biggest films in the industry.